Look up seventh in Wiktionary, the free dictionary.

Seventh may refer to:

• Seventh Amendment to the United States Constitution

Film and television[link]

• "The Seventh", a second season episode of Star Trek: Enterprise
• "Seventh", liverpool f.c position in the league, "alla gal"

Music[link]

• Diminished seventh, a chromatically reduced minor seventh interval
• Major seventh, the larger of two commonly occurring musical intervals that span seven diatonic scale degrees
• Minor seventh, the smaller of two commonly occurring musical intervals that span seven diatonic scale degrees
• Harmonic seventh, the interval of exactly 4:7, whose approximation to the minor seventh in equal temperament explains the "sweetness" of the dominant seventh chord in a major key
• Leading-tone or subtonic, the seventh degree and the chord built on the seventh degree
• Seventh chord, a chord consisting of a triad plus a note forming an interval of a seventh above the chord root

See also[link]

• Seventh Army (disambiguation)
• Seventh Avenue (disambiguation)
• Seventh day (disambiguation)
• Seventh Generation (disambiguation)
• Seventh Heaven (disambiguation)
• Seventh Sea (disambiguation)
• Seventh Son of a Seventh Son
• Seventh Sanctum

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Johnny Rivers
Rivers performing at the Mohegan Sun Casino on June 18, 2011 in Uncasville, Connecticut
Background information
Birth name	John Henry Ramistella
Born	(1942-11-07) November 7, 1942 (age 69)
Origin	New York City, New York, United States
Genres	Rock and roll, garage rock
Occupations	Musician, Songwriter, Producer
Years active	1956–present
Labels	Imperial Epic United Artists Atlantic RSO Soul City
Website	JohnnyRivers.com

Johnny Rivers (born John Henry Ramistella, November 7, 1942, New York City) is an American rock and roll singer, songwriter, guitarist, and record producer. His styles include folk songs, blues, and revivals of old-time rock 'n' roll songs and some original material. Rivers's greatest success came in the mid- to late-1960s with a string of hit songs (including the #1 hit "Poor Side of Town", "Summer Rain", and "Secret Agent Man"), but he has continued to record and perform to the present.^[1][2]

Career[link]

1950s[link]

The Ramistella family moved from New York to Baton Rouge, Louisiana when Johnny's father lost his job while Johnny was still young. Without any formal music lessons, he began playing guitar, which he learned from his father and uncle, at the age of eight, and was influenced by the distinctive music of Louisiana. While in junior high school he started sitting in with a band called The Rockets led by Dick Holler who later wrote a number of songs including "Abraham, Martin and John" and "Snoopy vs. The Red Baron".^[1][2]

Ramistella formed his own band, The Spades, in junior high school and made his first record at age 14, while still a student at Baton Rouge High School.^[1] Some of their music was recorded on the Suede label as early as 1956.^[3]

On a trip back to New York in 1958, he met Alan Freed who advised him to change his name, so Johnny Ramistella had the Baton Rouge attorney Arthur J. Cobb change his name to Johnny Rivers after the Mississippi River that flows near Baton Rouge.^[1] Freed also helped Rivers score some recording contracts on the Gone label.^[2] From March 1958 to March 1959, Rivers released three records which did not sell well.^[1]

In 1959, Rivers returned to Baton Rouge. While playing throughout the American South along side Southern comedian Brother Dave Gardner, one evening in Birmingham, Rivers met Audrey Williams, the first wife of Hank Williams and she took Rivers to Nashville, where he recorded two more records. They were not successful either, but Johnny stayed in Nashville as a songwriter and demo singer for $25 a demo. While in Nashville, Rivers worked alongside Roger Miller. By this time, Rivers's self-esteem about his singing diminished, and he thought he would never make it as a singer, therefore writing, and not singing, moved to the forefront.^[1][2]

1960s[link]

In 1960, Rivers met fellow Louisianan James Burton, the guitar player for Ricky Nelson. Burton later recommended one of Rivers's songs to Nelson, who went on to record it. In 1961, Rivers went to Los Angeles to meet Nelson, and then relocated there, working as a songwriter and studio musician. In 1963, Rivers's big break came when he temporarily filled in for a jazz combo at Bill Gazzarri's nightclub; the temporary gig became long-term due to positive customer response.^[1][2][4]

In 1963, Rivers recorded the theme song for the American broadcast of a British television series, "Danger Man," which starred Patrick McGoohan. At first, Rivers balked at the idea, feeling that he did not have the talent to make a record on an international label, but he eventually relented. The American version of the show was titled "Secret Agent", and the song "Secret Agent Man" reached number 3 on the Billboard Hot 100 charts in 1966.^[5] It sold one million copies, achieving gold disc status.^[6]

In 1964, Elmer Valentine gave Rivers a one-year contract to open in his new nightclub, Whisky a Go Go, on Sunset Strip in West Hollywood.^[1][4] The Whisky a Go Go opened only three days before The Beatles' "I Want to Hold Your Hand" entered the Hot 100^[2] and the subsequent British Invasion knocked almost every American artist off the top of the charts. But Rivers was so popular that producer Lou Adler decided to issue Johnny Rivers Live At The Whisky A Go Go.^[1] The live album reached #12 on the charts and the single "Memphis" reached the US Hit Parade #2 spot ^[7] in July 1964. It sold over one million copies, and was awarded a gold disc.^[6] According to Elvis Presley's friend and employee Alan Fortas, Presley played his friend (Rivers) a test pressing of "Memphis" that Elvis had made but not released. Rivers was impressed and, much to Presley's chagrin, Rivers recorded and released it, even copying the arrangement (Fortas writes: "After that, Johnny was on Elvis's shit list" and was persona non grata from then on).^[8] Rivers's version far outsold the Chuck Berry original from August 1959 which stalled at #87 in the US. (Lonnie Mack's 1963 instrumental version of "Memphis" reached the US Hit Parade top five in July;^[9] the Chuck Berry original and its British rival cover version fought it out in the UK Hit parade in November 1963).^[10]

Rivers made a successful transition from nightclub entertainer to chart-busting pop singer and had created the "Go Go sound",^{[citation needed]} part of a scene which included Go-Go dancers. In 1964 and 1965, Rivers continued to record mostly live, Go-Go style records including "Maybellene" (another Berry cover), after which came "Mountain of Love", "Midnight Special", "Seventh Son" (written by Willie Dixon) and "Where Have All the Flowers Gone?" (written by Pete Seeger), all of which were hits.^[1][11]

Rivers wanted to try something different; he switched gears in 1966, and began to record ballads characterized by his smooth, soulful voice, and background vocalists (mostly women), producing such successful hits as "Poor Side Of Town", which would be his biggest chart hit and his only number one record. Another hit was "Secret Agent Man", the theme from the Secret Agent television series (written by P.F. Sloan and Steve Barri). He also started his own record company, Soul City Records, where he won a Grammy Award as the producer of The 5th Dimension, which eventually recorded "Aquarius/Let the Sunshine In" and "Wedding Bell Blues", two number-one hits with Rivers's label. Rivers is also credited with giving songwriter Jimmy Webb a major break, when the 5th Dimension recorded Webb's song "Up, Up, and Away".^[2]

Rivers continued to record more hits, including "Baby I Need Your Lovin'" (cover of the Four Tops) and "The Tracks of My Tears" (cover of the Miracles), both went Top 10 in 1967. In 1968, Rivers released Realization, a number-five album on the LP charts that included the #14 pop chart single "Summer Rain", written by a former member of The Mugwumps, James Hendricks. The album included some of the psychedelic influences of the time and marked a subtle change in his musical direction, with more thoughtful types of songs, included such ballads as "Look To Your Soul" and "Going Back to Big Sur".^[12]

1970s[link]

In the 1970s, Rivers continued to record more songs and albums that were a success with music critics, but did not sell as well as some of his earlier hits. L.A. Reggae (1972) reached the LP charts as a result of the #6 hit "Rockin' Pneumonia and the Boogie Woogie Flu", a cover version of the Huey "Piano" Smith And The Clowns song. The track became Rivers's third million seller, which was acknowledged with the presentation of a gold disc by the Recording Industry Association of America (R.I.A.A.) on January 29, 1973.^[6] Other hits at that time were "Blue Suede Shoes" (cover of Carl Perkins), in 1973, which would reach the top 40 on the Billboard Hot 100,^[3] and "Help Me Rhonda" in 1975 (originally a #1 hit for The Beach Boys) on which Brian Wilson helped with backup vocals. His last Top 10 entry was "Swayin' to the Music (Slow Dancing)" (originally recorded by Funky Kings and written by Jack Tempchin who penned "Peaceful Easy Feeling" and Already Gone" for the Eagles), which reached #10, followed by his last Hot 100 entry, "Curious Mind (Um, Um, Um, Um, Um, Um)" (cover of Major Lance), both from 1977. He also sang the title song to the late night concert influenced TV show The Midnight Special.^[12]

1980s to current[link]

Rivers continued recording into the 1980s (e.g., 1980s Borrowed Time LP), although his recording career decreased. Despite his music not having reached the best seller charts for quite a while, Rivers is still touring, doing 50 to 60 shows a year. Increasingly he has returned to the blues that inspired him initially.

In 1998, Rivers reactivated his Soul City imprint and released Last Train to Memphis.

In early 2000, Rivers recorded with Eric Clapton, Tom Petty, and Paul McCartney on a tribute album dedicated to Buddy Holly's backup band, "The Crickets".

In all, Rivers had nine Top 10 hits on the Billboard Hot 100 and 17 in the Top 40 from 1964 to 1977. In total, he has sold well over 30 million records.

Rivers is one of a small number of performers such as Paul Simon, Billy Joel, Pink Floyd (from 1975's Wish You Were Here onward), Queen, Genesis (though under the members' individual names and/or the pseudonym Gelring Limited) and Neil Diamond who have their name as the copyright owner on their recordings. (Most records have the recording company as the named owner of the recording.) This development was spearheaded by the Bee Gees with their $200 million lawsuit against RSO, the largest successful lawsuit against a record company by an artist or group.

On June 12, 2009, Johnny Rivers was inducted into The Louisiana Music Hall of Fame.^[1]

Selected discography[link]

References[link]

• "Johnny Rivers – Discography 1964–1969". JohnnyRivers.com. http://www.johnnyrivers.com/jr/discography64-69.html. Retrieved October 31, 2010. 
• "Johnny Rivers – Discography 1970–Present". JohnnyRivers.com. http://johnnyrivers.com/jr/discography70+.html. Retrieved October 31, 2010. 

External links[link]

• Johnny Rivers at Allmusic
• Official website
• Official website biography
• Biography at Classicbands.com

William James "Willie" Dixon (July 1, 1915 – January 29, 1992) was an American blues musician, vocalist, songwriter, arranger and record producer.^[1] A Grammy Award winner who was proficient on both the upright bass and the guitar and as a vocalist, Dixon is perhaps best known as one of the most prolific songwriters of his time. He is recognized as one of the founders of the Chicago blues sound. Dixon's songs have been recorded by countless musicians in many genres as well as by various ensembles in which he participated. A short list of the man's most famous compositions includes "Little Red Rooster", "Hoochie Coochie Man", "Evil", "Spoonful", "Back Door Man", "I Just Want to Make Love to You", "I Ain't Superstitious", "My Babe", "Wang Dang Doodle", and "Bring It On Home". These tunes were written during the peak of Chess Records, 1950–1965, and performed by Muddy Waters, Howlin' Wolf, and Little Walter, influencing a worldwide generation of musicians.^[2]

Next to Muddy Waters, he was the most influential person in shaping the post World War II sound of the Chicago blues.^[3] He also was an important link between the blues and rock and roll, working with Chuck Berry and Bo Diddley in the late 1950s. His songs were covered by some of the biggest artists of more recent times, including Styx, Bob Dylan, Cream, Jimi Hendrix, Led Zeppelin, Foghat, The Yardbirds, The Rolling Stones, Queen, Megadeth, The Doors, The Allman Brothers Band, Grateful Dead,^[3] and a posthumous duet with Colin James.

Biography[link]

Early life[link]

Dixon was born in Vicksburg, Mississippi on July 1, 1915.^[1] His mother Daisy often rhymed the things she said, a habit her son imitated. At the age of seven, young Dixon became an admirer of a band that featured pianist Little Brother Montgomery. Dixon was first introduced to blues when he served time on prison farms in Mississippi as an early teenager. He later learned how to sing harmony from local carpenter Leo Phelps. Dixon sang bass in Phelps' group The Jubilee Singers, a local gospel quartet that regularly appeared on the Vicksburg radio station WQBC. Dixon began adapting poems he was writing as songs, and even sold some tunes to local music groups.

Adulthood[link]

Dixon left Mississippi for Chicago in 1936. A man of considerable stature, at 6 and a half feet and weighing over 250 pounds, he took up boxing; he was so successful that he won the Illinois State Golden Gloves Heavyweight Championship (Novice Division) in 1937.^[4] Dixon turned professional as a boxer and worked briefly as Joe Louis' sparring partner. After four fights, Dixon left boxing after getting into a fight with his manager over being cheated out of money.

Dixon met Leonard Caston at the boxing gym where they would harmonize at times. Dixon performed in several vocal groups in Chicago but it was Caston that got him to pursue music seriously. Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned the guitar.

Dixon, whose initial attempts at his vocation as a boxer were now dubious, began performing around Chicago and with Caston, who convinced him to move towards a musical career.^[5] In 1939, was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon's progress as he progressed on the Upright bass came to an abrupt halt during the advent of World War II when he resisted the draft as a conscientious objector and was imprisoned for ten months.^[1] After the war, he formed a group named the Four Jumps of Jive and then reunited with Caston, forming the Big Three Trio, who went on to record for Columbia Records.

Pinnacle of career[link]

Dixon signed with Chess Records as a recording artist, but began performing less, being more involved with administrative tasks for the label. By 1951, he was a full-time employee at Chess, where he acted as producer, talent scout, session musician and staff songwriter. He was also a producer for Chess subsidiary Checker Records. His relationship with Chess was sometimes strained, although he stayed with the label from 1948 to the early 1960s. During this time Dixon's output and influence were prodigious. From late 1956 to early 1959, he worked in a similar capacity for Cobra Records, where he produced early singles for Otis Rush, Magic Sam, and Buddy Guy.^[6] He later recorded on Bluesville Records.^[7] From the late 1960s until the middle 1970s, Dixon ran his own record label, Yambo Records, along with two subsidiary labels, Supreme and Spoonful. He released his 1971 album Peace? on Yambo, as well as singles by McKinley Mitchell, Lucky Peterson and others.^[8]

Dixon is considered one of the key figures in the creation of Chicago blues. He worked with Chuck Berry, Muddy Waters, Howlin' Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, Sam Lay and others. His double bass playing was of a high standard. He appears on many of Chuck Berry's early recordings, further proving his linkage between the blues and the birth of rock and roll.

Dixon is remembered mainly as a songwriter; his most enduring gift to the blues lay in refurbishing archaic Southern motifs, often of magic and country folkways and often derived from earlier records such as those by Charlie Patton, in contemporary arrangements, to produce songs with both the sinew of the blues, and the agility of pop.^[9] British R&B bands of the 1960s constantly drew on the Dixon songbook for inspiration.^[9] In December 1964, The Rolling Stones reached #1 in the UK Singles Chart with their cover version of Dixon's "Little Red Rooster".^[10]

By the late sixties, Dixon's songwriting and production work began to take a back seat to his organizational abilities, which were utilised to assemble all-star, Chicago-based blues ensembles for work in Europe.^[9]

Dixon in Cary, Illinois at Harry Hopes, 1979

In his later years, Willie Dixon became a tireless ambassador for the blues and a vocal advocate for its practitioners, founding the Blues Heaven Foundation. The organization works to preserve the blues’ legacy and to secure copyrights and royalties for blues musicians who were exploited in the past. Speaking with the simple eloquence that was a hallmark of his songs, Dixon claimed, "The blues are the roots and the other musics are the fruits. It’s better keeping the roots alive, because it means better fruits from now on. The blues are the roots of all American music. As long as American music survives, so will the blues."

Dixon's health deteriorated increasingly during the seventies and the eighties, primarily due to long-term diabetes. Eventually one of his legs had to be amputated.^[1] Dixon was inducted at the inaugural session of the Blues Foundation's ceremony, and into the Blues Hall of Fame in 1980.^[11] In 1989 he was also the recipient of a Grammy Award for his album, Hidden Charms.^[12]

Death and legacy[link]

Dixon died of heart failure^[13] in Burbank, California on January 29, 1992,^[1] and was buried in the Burr Oak Cemetery in Alsip, Illinois. Dixon was posthumously inducted into the Rock and Roll Hall of Fame in the "early influences" (pre-rock) category in 1994.^[14]

Actor and comedian Cedric the Entertainer portrayed Dixon in Cadillac Records, a 2008 film based on the early history of Chess Records.^[15][16]

Willie Dixon's grandson Alex Dixon recorded two Willie Dixon songs, ("Spoonful" and "Down in the Bottom"), on his release Rising from the Bushes.^[1]

Songs[link]

Tributes[link]

• French singer-songwriter Francis Cabrel refers to Dixon in the song "Cent Ans de Plus" on his 1999 album Hors-Saison. Cabrel cites the artist as one of a number of blues influences, including Charley Patton, Son House, Blind Lemon, Robert Johnson, Howlin' Wolf, Blind Blake and Ma Rainey.
• Canadian rock musician Tom Cochrane wrote a song entitled "Willie Dixon Said" that appeared on his 1999 album X-Ray Sierra.
• Bob Dylan credited Willie Dixon for the music of the song "My Wife's Hometown" on his album Together Through Life and gave special thanks to Dixon's estate.

Discography[link]

See also[link]

• List of blues musicians
• Chicago Blues Festival
• List of Rock and Roll Hall of Fame inductees
• Boogie-woogie

References[link]

Further reading[link]

• Dixon, Willie; & Snowden, Don (1990). I Am the Blues: The Willie Dixon Story. Da Capo Press. ISBN 0-7043-0253-5
• Dixon, Willie (1992). Willie Dixon – Master Blues Composer: With Notes and Tablature. Hal Leonard. ISBN 0-7935-0305-1
• 1997 The Chess Box Snowden, Don "Willie Dixon" [CD booklet]. MCA Records, Inc.

External links[link]

• Willie Dixon at Allmusic
• Willie Dixon at the Internet Movie Database
• Willie Dixon at Find a Grave
• Willie Dixon at the Rock and Roll Hall of Fame
• Willie Dixon, Mississippi blues musician. The Mississippi Writers and Musicians Project of Starkville High School.
• Willie Dixon's Blues Heaven Foundation

Devin Townsend
Devin Townsend performing at Tuska Metal Festival, Finland (July 2010).
Background information
Birth name	Devin Garret Townsend[1]
Born	(1972-05-05) May 5, 1972 (age 40) New Westminster, British Columbia, Canada
Genres	Extreme metal, thrash metal, industrial metal, death metal, grindcore, progressive metal, progressive rock, ambient
Occupations	Singer-songwriter, musician, producer
Instruments	Vocals, guitars, bass, keyboards, drum machine, sampler, banjo
Years active	1993–present
Associated acts	The Devin Townsend Band, The Devin Townsend Project, Strapping Young Lad, Steve Vai, Punky Brüster, IR8, Front Line Assembly, Grey Skies, Caustic Thought, Noisescapes, Ayreon, The Wildhearts, Bent Sea
Website	www.hevydevy.com
Notable instruments
Peavey, ESP, Fender, and Gibson

Devin Garret Townsend (born May 5, 1972) is a Canadian musician and record producer. He was the founder, songwriter, vocalist, and guitarist in extreme metal band Strapping Young Lad from 1994 to 2007 and has had an extensive career as a solo artist.

After performing in a number of metal bands in high school, Townsend was discovered by a record label in 1993 and was asked to perform lead vocals on Steve Vai's album Sex & Religion. After recording and touring with Vai, Townsend was discouraged by what he found in the music industry, and vented his anger on a solo album released under the pseudonym Strapping Young Lad. He soon assembled a band under the name, and released the critically acclaimed City in 1997. Since then, he has released three more studio albums with Strapping Young Lad, along with solo material released under his own independent record label, HevyDevy Records. Townsend's solo albums, a diverse mix of hard rock and progressive metal, have featured a varying lineup of supporting musicians. In 2002 he formed The Devin Townsend Band, a dedicated lineup which recorded and toured for two of his solo releases.

In 2007, Townsend disbanded both Strapping Young Lad and The Devin Townsend Band, taking a break from touring to spend more time with his family. After a two-year hiatus, he began work on a four-album series called The Devin Townsend Project, with each album written in a different style. The first two entries in the series, Ki and Addicted, were released in 2009. Townsend scheduled tours throughout Australia and North America in 2010 in support of the albums, and released the next two, Deconstruction and Ghost, in 2011.

Townsend's trademark production style, featuring a heavily multitracked wall of sound, has been compared to the styles of Phil Spector and Frank Zappa. His versatile vocal delivery ranges from screaming to an opera-esque singing, and his songwriting is similarly diverse. Townsend's musical style is rooted in metal, and his albums are written to express different aspects of his personality.

Biography[link]

Early musical career (1972–1994)[link]

Devin Townsend was born in New Westminster, British Columbia, on May 5, 1972.^[2] Townsend picked up the banjo when he was five, and began playing guitar when he was 12.^[3] He participated in several metal bands while he was in high school, and founded Grey Skies at the age of 19. Around the same time he joined a popular local group called Caustic Thought, replacing Jed Simon on guitar and playing alongside bassist Byron Stroud, both of whom would later become members of Townsend's flagship band, Strapping Young Lad.^[4] In 1993, Townsend began writing material under the name Noisescapes, a project he later described as "just as violent as Strapping Young Lad".^[5]

Townsend recorded a Noisescapes demo and sent copies to various record labels. Relativity Records responded to Townsend with a record deal and Townsend began work on what was to be the first Noisescapes album, Promise.^[6] Shortly afterward, the label introduced him to musician Steve Vai. Impressed with Townsend's vocal work, Vai offered him the role of the lead vocalist on his new album Sex and Religion. Townsend took the offer, unfamiliar with Vai's work and unaware of his acclaim in the music world. After recording Sex and Religion, Townsend accompanied Vai on a world tour in support of the album.^[6] Townsend soon landed a second touring gig, this time with the opening band of Vai's tour, The Wildhearts.^[7] He played live with the band throughout half of 1994 in Europe, and appeared as a guest musician on their single Urge. Ginger, the band's frontman, remained close friends with Townsend,^[8] later co-writing several songs on Infinity and the Christeen + 4 Demos EP.

While on tour with The Wildhearts, Townsend formed a short-lived thrash metal project with Metallica's then-bassist Jason Newsted. The band, known as IR8, featured Newsted on vocals and bass, Townsend on guitar, and Tom Hunting of Exodus on drums. The group recorded a few songs together, although Townsend says that they never intended to go further than that. "People heard about it and thought we wanted to put out a CD, which is absolutely not true," he explains. "People took this project way too seriously."^[5] A demo tape was put together, but the material was not released until 2002, when Newsted published the IR8 vs. Sexoturica compilation.

Though Townsend was proud of what he had accomplished so early in his career, he was discouraged by his experience with the music industry. "I was becoming a product of somebody else's imagination, and it was mixing with my own personality," he later reflected. "This combination was appalling."^[9] He pushed to get his own projects off the ground. Despite getting notable touring gigs with other musicians, however, Townsend continued to face rejection of his own music. Relativity Records dropped Noisescapes from their label shortly after Townsend accepted Vai's offer, seeing no commercial appeal in Townsend's music.^[10] "I have a hunch they only offered me a deal to get me to sing with Steve," he mused.^[5] While touring with The Wildhearts, Townsend received a phone call from an A&R representative for Roadrunner Records, expressing an interest in his demos and an intention to sign him. The offer was ultimately rescinded by the head of Roadrunner, who regarded Townsend's recordings as "just noise".^[11]

[edit] Heavy as a Really Heavy Thing through Infinity (1994–1998)

In 1994, Century Media Records offered Townsend a contract to make "some extreme albums".^[11] He agreed to a five-album deal with the record label^[12], and also provided much of the guitar work on the 1994 album Millennium and the 1995 album Hard Wired by Vancouver industrial band Front Line Assembly. Townsend began to record material under the pseudonym Strapping Young Lad. He avoided using his real name at this point in career, looking for a fresh start after his high-profile Vai gig. "At the beginning, I wanted to avoid at all cost to use my name because I was known as the singer for Steve Vai and it wasn't the best publicity to have," he later explained. "I was playing somebody else's music and I was judged in respect to that music."^[9] Townsend produced and performed nearly all the instruments on the debut studio album, Heavy as a Really Heavy Thing, which was released in April 1995.

Following the release of the record, Townsend and several other musician friends he knew in Vancouver recorded his first solo album in 1996 entitled Punky Brüster – Cooked on Phonics. Written and recorded in under a month, the album was produced as a parody of punk rock bands and documents the act of selling out for mainstream success. Townsend founded his own independent record label, HevyDevy Records, to release the album. Townsend assembled a permanent lineup of Strapping Young Lad to record City, including prolific metal drummer Gene Hoglan, along with Townsend's former bandmates Jed Simon on guitar and Byron Stroud on bass. The industrial-influenced^[13] album was released in 1997. To this day, the album is widely considered Strapping Young Lad's best work,^[14][15] with Metal Maniacs calling it "groundbreaking"^[16] and Revolver naming it "one of the greatest metal albums of all time".^[17] Townsend himself considers it the band's "ultimate" album.^[18] Later that year, Townsend released his second solo album, Ocean Machine: Biomech. The album featured a mix of hard rock, ambient, and progressive rock.^[16]

After the completion of City and Ocean Machine: Biomech, Townsend began to approach a mental breakdown. "I started to see human beings as little lonesome, water based, pink meat," he explained, "life forms pushing air through themselves and making noises that the other little pieces of meat seemed to understand." In 1997, he checked himself into a mental-health hospital, where he was diagnosed with bipolar disorder. The diagnosis helped him understand where the two sides of his music were coming from; he felt his disorder "gave birth to the two extremes that are Strapping's City record and Ocean Machine: Biomech."^[19] After being discharged from the hospital, Townsend found that "everything just clicked" and he was able to write his third solo album, Infinity, which he described as "the parent project" of City and Ocean Machine: Biomech,^[19] with music influenced by Broadway.^[16] Townsend returned to the studio, accompanied by Hoglan, to work on the album, on which Townsend played most of the instruments. Infinity was released in October 1998. Later in his career, Townsend has cited Infinity as his favorite solo record.^[13]

With Infinity, Townsend began to label all albums outside of Strapping Young Lad under his own name, dropping the Ocean Machine moniker, to reduce confusion. He wanted to show that despite the highly varied nature of his projects, they are all simply aspects of his identity.^[9] The album Biomech was relabeled and redistributed as Ocean Machine: Biomech, under Townsend's name, to reflect the new arrangement. Townsend's bandmates began to play two sets at their shows, one as Strapping Young Lad, and one as The Devin Townsend Band, playing songs from Townsend's solo albums.^[2]

[edit] Physicist and Terria (1999–2001)

Townsend performing at the Wâldrock Festival, Netherlands (June 30, 2001).

Townsend's next project took several years to come to fruition. After the creation of the IR8 demo tape, Townsend and Jason Newsted had begun work on a new project called Fizzicist, which they described as "heavier than Strapping Young Lad". When the IR8 tape was leaked, Newsted's Metallica bandmates James Hetfield and Lars Ulrich learned of the project. Hetfield was "fucking pissed" that Newsted was playing outside the band, and Newsted was prevented by his bandmates from working on any more side projects.^[20] With the project stalled, Townsend instead wrote the album himself, entitling it Physicist. Townsend assembled his Strapping Young Lad bandmates to record it, the only time this lineup was featured on a Devin Townsend album.^[2] The thrash-influenced^[16] Physicist was released in June 2000, and is generally considered a low point in Townsend's career. Hoglan and the rest of the band were dissatisfied with the way the sound was mixed,^[21] and Townsend considers it his worst album to date.^[22]

Feeling he had "ostracized a bunch of fans" with Physicist, Townsend felt he had the chance to make a more personal and honest record.^[13] Townsend was inspired one morning while driving across Canada with his band, and looked to write an "introspective" album dedicated to his homeland.^[23] He produced and recorded Terria, a "highly illustrated stream-of-consciousness" album,^[13] with Gene Hoglan on drums, Craig McFarland on bass and Jamie Meyer on keyboards. Townsend cited Ween's White Pepper as an inspiration for the album.^[13] Terria was released in November 2001.

[edit] Strapping Young Lad through Synchestra (2003–2006)

Townsend's solo run lasted until 2002. After a five-year break from recording, Strapping Young Lad reunited to record a new album. Townsend credits the album, Strapping Young Lad, as an emotional response to the attacks of September 11, 2001, in the United States. "If the world's about to blow up," said Townsend, "let's write the soundtrack for it."^[21] The album's lyrics were based more around fear and insecurity than the "hostile" lyrics of City.^[13] Musically, Strapping Young Lad was less industrial than City,^[24] and more reminiscent of death metal,^[25] with a "larger-than-life" rock production style.^[13] Townsend cited Front Line Assembly, Grotus, and Samael's Passage as influences.^[13] The self-titled album was released in February 2003. It received lukewarm reviews, with critics finding it inferior to City,^[26][27] but it was the band's first charting album, entering at 97th place on Billboard's Top Heatseekers chart.^[28]

Townsend filming the music video for "Zen" with Strapping Young Lad (2005).

While Strapping Young Lad was being reunited, Townsend formed a new, permanent band "on par with Strapping" to record and tour for his solo releases.^[13] The Devin Townsend Band consisted of Brian Waddell on guitar, Mike Young on bass, Ryan Van Poederooyen on drums, and Dave Young on keyboards. Townsend performed guitar, vocals, and production, as he did in Strapping Young Lad. Townsend worked on the band's first album, Accelerated Evolution, at the same time he was working on Strapping Young Lad, spending half the week on one and half on the other.^[29] Accelerated Evolution, named for the pace of putting a new band together in under a year,^[13] was released a month after Strapping Young Lad. Mike G. of Metal Maniacs called it "the album of the year", praising it for "the hard-to-accomplish trick of being extreme yet accessible, simultaneously heavy 'n' rockin' yet majestic and beautiful."^[16] Prior to the formation of The Devin Townsend Band, Townsend had represented his solo releases live with the Strapping Young Lad lineup; the band would play one set of Strapping Young Lad songs and one set of Devin Townsend songs.^[30] After the release of Accelerated Evolution, Townsend's two bands toured separately for their separate albums.^[2]

Strapping Young Lad began working on their next album, Alien, in March 2004.^[31] Feeling that the band's previous album did not live up to expectations, Townsend decided to take his music to a new extreme.^[32] To prepare for the new album, Townsend stopped taking the medication prescribed to treat his bipolar disorder.^[33] "I think that as an artist, in order for me to get to the next plateau, I kind of feel the need to explore things and sometimes that exploration leads you to places that are a little crazy," he explains. "And Alien was no exception with that."^[34] Although Townsend considered the album an "impenetrable mass of technicality",^[35] it was well received on its release, selling 3,697 copies in its first week^[36] and appearing on several Billboard charts.^[37]

Shortly thereafter Townsend began putting together the next Devin Townsend Band record, with the working title Human.^[38] Townsend intended the album as the more "pleasant" counterpart to Alien. "It's basically a record about coming back down to earth after being in space with Alien for a while."^[34] The album ended up being renamed Synchestra and was released in January 2006. Townsend showcased a wide variety of musical styles in Synchestra, blending his trademark "pop metal" with influences from folk, polka, and Middle Eastern music.^[39]

[edit] Ziltoid the Omniscient and hiatus (2006–2008)

Townsend's wife, Tracy Turner, gave birth to their first son, Reyner Liam Johnstan Townsend, on October 4, 2006.^[40] Around this time, Townsend withdrew from touring to spend time with his family. From home, Townsend completed his second solo ambient album, The Hummer, releasing it exclusively on his website in November 2006.

In May 2007, Townsend released Ziltoid the Omniscient, a tongue-in-cheek rock opera about the eponymous fictional alien. This was truly a solo album; he programmed the drums using Drumkit from Hell,^[41] a software drum machine that uses MIDI samples recorded by Tomas Haake of Meshuggah^[42] and played all other instruments himself. Shortly after the album's release, Townsend announced that he no longer planned to tour or make albums with Strapping Young Lad or The Devin Townsend Band. He explained that he was "burnt out on travelling, touring, and self promotion" and wished to do production work, write albums, and spend time with his family without the stress of interviews or touring.^[43]

In 2008, Townsend lent his voice to characters in several episodes of the Adult Swim cartoon Metalocalypse (see Musician cameos in Metalocalypse for more). The original character design for Pickles the Drummer, one of the series' main characters, bore a striking resemblance to Townsend. The series' co-creator Brendon Small acknowledged the similarity, and altered the design before the series began. "We made sure he didn't look like Devin Townsend. We gave him the goatee and the dreadover so he wouldn't look like that."^[44]

The Devin Townsend Project (2008–present)[link]

Devin Townsend performing with the Devin Townsend Project in Cleveland, Ohio (January 25th, 2010).

After removing himself from the music industry, Townsend cut his trademark hair off^[45] and gave up drinking and smoking.^[46] Townsend found it "disconcerting" that he had difficulty writing music without drugs, and that he had trouble identifying his purpose as a musician. He spent a year producing albums in absence of writing, but found it unrewarding and decided to "pick up the guitar and just write".^[45] This began a period of "self discovery"^[46] where he learned "how to create without drugs".^[47]

Over two years, Townsend wrote over 60 songs, and found that they fit into "four distinct styles".^[45] In March 2009, Townsend announced his plans for a four-album series called The Devin Townsend Project,^[47] with the goal of clarifying his musical identity and being "accountable" for the persona he projects to the public.^[45] The project's concept includes a different "theme" and a different group of musicians on each album.^[47]

Ki, the first album of The Devin Townsend Project, was written to "set the stage" for the subsequent albums.^[47] Townsend channeled his newfound control and sobriety into Ki, a "tense, quiet" album that contrasts with much of the music he had been known for.^[45] Ki was released in May 2009.^[48] The second entry, a "commercial, yet heavy" album called Addicted, was released in November 2009.

Townsend returned to the stage in January 2010, touring North America with headliner Between the Buried and Me as well as Cynic and Scale the Summit. This was followed by a headlining tour in Australia and a series of high-profile shows in Europe (for example co-headlining the Brutal Assault festival in Czech Republic). He headlined a North American tour with UK label mates TesseracT supporting, which began in October 2010, and toured in Europe with support from Aeon Zen and Anneke van Giersbergen.^[49]

The final albums in The Devin Townsend Project series, Deconstruction and Ghost, were released on June 21, 2011. Townsend performed all four of The Devin Townsend Project albums in the UK and recorded them for a DVD called By a Thread – Live in London 2011 that will be released in 2012. The first three shows were held at the University of London Union, November 10–12, 2011. Ki, Addicted, and Deconstruction were each performed on one night, respectively. The show for Ghost was held at the Union Chapel, Islington on November 13, 2011.^[50] These four shows were each entitled "An Evening with the Devin Townsend Project".^[51]

Since 2009, Townsend has discussed plans to expand the Ziltoid the Omniscient franchise. His ideas included a sequel album, a "full blown musical" with the title Z²,^[52] but the album appeared to have been scrapped, as Townsend stated in mid-June 2011, "I’m very rapidly realizing that humor and metal… it doesn’t really work." However, as of July 2011, he has stated on his Twitter account that the album was still in the works, but was "vying for pole-position" as he works on other projects.^[53] He has expressed possible plans to begin a series of online videos, a series titled ZTV, instead, in which a Ziltoid hand puppet conducts interviews with various bands.^[54] A graphic novel based on the Ziltoid character, and possibly performing the Ziltoid album as a staged musical, at least as a one-off, have also been considered.^[55]

Townsend has stated on his Twitter that he is working on a new album, entitled Epicloud. He described the album as "Big, heavy, romantic kind of melodic stuff. Pretty, ethereal and simple."^[56] Anneke Van Giersbergen will take part in the album. Townsend also announced on his Facebook that the album would be released under The Devin Townsend Project name. Townsend recently played bass on the debut Bent Sea album Noistalgia. He also produced the record.^[57]

As part of Australia's Soundwave Festival Devin announced on Soundwave TV that he will begin recording Epicloud in Perth Australia after the festival.^[58][59]

Musical style[link]

Projects[link]

Townsend (right) performing with Strapping Young Lad in Bologna, Italy (2006).

Townsend designed his two main projects, the aggressive Strapping Young Lad and his more melodic solo material, as counterparts.^[60] Strapping Young Lad's music was a diverse mix of extreme metal genres; death metal, thrash metal, black metal^[61] and industrial metal. Townsend's solo material blends many genres and influences,^[62] with elements of atmospheric ambient music,^[63] hard rock and progressive rock,^[16] along with pop metal and arena rock.^[62] Despite Strapping Young Lad's greater mainstream acceptance, Townsend identifies more with his solo material, and has never intended Strapping Young Lad to be the focus of his music.^[64]

Production style[link]

As a self-proclaimed "fan of multitracking",^[34] Townsend has developed a trademark production style featuring an atmospheric, layered "wall of sound".^[39] Townsend has drawn critical praise for his productions, which "are always marked by a sense of adventure, intrigue, chaotic atmospherics and overall aural pyrotechnics", according to Mike G. of Metal Maniacs.^[16] Townsend mainly uses Pro Tools to produce his music, alongside other software suites such as Steinberg Cubase, Ableton Live, and Logic Pro.^[34] Townsend's musical ideas and production style have drawn comparisons to Phil Spector^[39] and Frank Zappa.^[65] Townsend has carried out the mixing and mastering for most of his solo work himself. He has also mixed and remixed work for other artists such as Rammstein, August Burns Red and Misery Signals.

Playing style[link]

Townsend mainly uses Open C tuning for both six and seven string guitar. He now also uses Open B tuning and Open B flat tuning (Open C tuning tuned a half and a whole step down respectively) on his six string guitars. Townsend's technique varies from fingerpicking, power chords and polychords to sweep-picked arpeggios and tapping techniques. He is also known for his heavy use of reverb and delay effects. He has expressed that he has no taste for shred guitar, saying that "Musically it doesn't do anything for me" and that he only solos when he thinks that he can within the context of the song.^[66] Townsend himself has stated, "Yeah it's played on the...Fourth fret, E string, Eighth fret, A string...", and has remarked, "I have no idea what notes they are, I have people who do that".^{[citation needed]}

Townsend used ESP guitars from 1994 to 2009, when he switched to Peavey guitars. In 2011, Peavey introduced a Devin Townsend signature 7-string baritone guitar with an EMG 81-7 in the bridge position and a 7-string EMG SA in the neck position. Townsend is also known for his usage of the Fractal Audio AxeFX system.

Influences[link]

Townsend draws influence from a wide range of music genres, most prominently heavy metal. Townsend has cited, among others, Judas Priest, W.A.S.P., Frank Zappa, Broadway musicals, Abba, new age music, Zoviet France, King's X, Morbid Angel, Barkmarket, Grotus, Jane's Addiction, Metallica, Cop Shoot Cop and Fear Factory as his influences,^[67] and has also expressed his admiration for Meshuggah on several occasions, calling them "the best metal band on the planet".^[68] City was influenced by bands such as Foetus and Cop Shoot Cop,^[11] and The New Black's influences were Meshuggah, and "more traditional metal" like Metallica.^[22] He is also influenced by classical composers such as Igor Stravinsky.^{[citation needed]}

Discography[link]

Townsend has released fourteen solo studio albums and five studio albums with Strapping Young Lad. He has also released numerous EPs, live albums, compilation albums, and collaborations under a variety of monikers, and has produced several albums for other artists.

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Devin Townsend

Wikimedia Commons has media related to: Devin Townsend

• HevyDevy Records
• Devin Townsend on Myspace
• Devin Townsend at Allmusic
• Strapping Young Lad on Myspace
• Devin Townsend at YouTube