This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2009)

A Lady Playing the Tanpura, ca. 1735

North Indian tambura (left) used as a drone to accompany a sarod recital.

The tambura, tanpura, tamboura or taanpura is a long-necked plucked lute (a stringed instrument found in different forms and in many places). The body shape of the tambura somewhat resembles that of the sitar, but it has no frets – and the strings are played open. One or more tamburas may accompany other musicians or vocalists. It has four or five (rarely six) wire strings, which are plucked one after another in a regular pattern to create a harmonic resonance on the basic note (bourdon or drone function). An electronic tanpura is often substituted in contemporary Indian classical music performance.

Tamburas come in different sizes and pitches: larger "males", smaller "females" for vocalists, and a yet smaller version is used for accompanying sitar or sarod, called tamburi or tanpuri. Male vocalists pitch their tonic note (Sa), often to about C♯; female singers usually a fifth higher, though the tonic may be any note, as there is no absolute pitch in the Indian classical music systems. The male instrument has an open string length of approximately one metre; the female is three-fourths of the male. The standard tuning is 5-8-8-1 (sol do' do' do) or, in Indian sargam, PA-sa-sa-SA. For ragas that omit the fifth, the first string is tuned down to the natural fourth: 4-8-8-1 or Ma-sa-sa-Sa. Some ragas require a less common tuning with shuddh NI (one semitone below octave sa), NI-sa-sa-SA. With a five-string instrument, the seventh or NI (natural minor or major 7th) is added: PA-NI-sa-sa-SA (5-7-8-8-1)or MA-NI-sa-sa-SA (4-7-8-8-1).

The name tanapura is probably derived from tana, referring to a musical phrase, and pura, which means "full" or "complete". Both in its musical function and how it works, the tambura is unique in many ways. It does not partake in the melodic part of the music, but it supports and sustains the melody by providing a colourful and dynamic harmonic resonance field based on one precise tone, the basic note or key note. Also, it is not played in rhythm with the music. Its tempo is independent of the music it supports, and the speed of playing may vary throughout a performance or remain relatively constant, at the discretion of the player.

The special overtone-rich sound is achieved by applying the principle of jivari, which creates a sustained "buzzing" sound in which particular harmonics will resonate with focused clarity. Jiva refers to "soul", that which gives life, implying that the tambura embodies an "animated" tone quality. The principle of jivari can be likened to the prismatic refraction of white light into the colours of the rainbow, as its acoustic twin principle at work.^{[citation needed]}

To achieve this effect, the strings pass over a wide, arched bridge, the front of which slopes gently away from the surface of the strings. When a string is plucked, it has intermittent periodical contact with the bridge; this intermittent grazing of the string and bridge is not a static process, as the points of contact will gradually shift, being a compound function of amplitude, the curvature of the bridge, and string tension. When the string is plucked, it has a large amplitude, moving up and down and contacting the bridge on the down-phase. As the energy of the string's movement gradually diminishes, the contact point of the string with the bridge slowly creeps up the slope to the top of the bridge, finally resting at the top of the bridge. Depending on scale and pitch, this can take between three and ten seconds. This dynamic process can be fine-tuned using a cotton thread between string and bridge: by shifting the thread, the grazing contact is shifted to a different position on the bridge, changing the harmonic content. Every single string produces its own cascading range of harmonics and, at the same time, builds up a particular resonance. According to this principle, tamburas are attentively tuned to achieve a particular tonal shade relative to the intonation-related qualities of the raga.

These more delicate aspects of tuning are directly related to what Indian musicians call raga svaroop, which is about how characteristic intonations strengthen the tonal impression of a particular raga. The tambura's particular setup, with its adjustable bridge, made it possible to explore a multitude of harmonic relations produced by the subtle harmonic interplay of four strings.

Tamburas are designed in three different styles:

• Miraj style: the favourite form of tanpura for Hindustani performers. It is usually between three to five feet in length, with a well-rounded resonator plate (tabli) and a long, hollow straight neck. The round lower chamber to which the tabli, the connecting heel-piece and the neck (dandh) are fixed is actually a selected and dried gourd (tumba). Wood used is either tun or teak; bridges are usually cut from one piece of bone.
• Tanjore style: this is a south Indian style of tambura, used widely by Carnatic music performers. It has a somewhat different shape and style of decoration from that of the miraj, but is otherwise much the same size. Typically, no gourd is used, but the spherical part is gouged out of a solid block of wood. The neck is somewhat smaller in diameter. Jackwood is used throughout; bridges are usually cut from one piece of rosewood. Often, two rosettes are drilled out and ornamented with inlaywork.
• Tamburi: small-scale instruments, used for accompanying instrumental soloists. It is two to three feet long, with a flat bed-pan type wooden body with a slightly curved tabli. It may have from four to six strings. Tamburi are tuned to the higher octave and are the preferred instruments for accompanying solo performances by string-playing artists, as the lighter, more transparent sound does not drown out the lower register of a sitar, sarod, or sarangi.

References[link]

Scheherezade Qassim Hassan, R. Conway Morris, John Baily, Jean During. "Tanbūr", The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell (London: Macmillan, 2001), xxv, pp. 61–62.

External links[link]

This article has multiple issues. Please help improve it or discuss these issues on the talk page. It may have been edited by a contributor who has a close connection with its subject. Tagged since October 2008. Its tone or style may not reflect the formal tone used on Wikipedia. Tagged since October 2008.

The Foundations were a British soul band, active from 1967 to 1970. The group, made up of West Indians, White British, and a Sri Lankan, are best known for their two biggest hits, "Baby Now That I've Found You" (a Number One hit in the UK Singles Chart and Canada, and subsequently Top 10 in the US), written by Tony Macaulay and John MacLeod; and "Build Me Up Buttercup" (a number 3 on the Billboard Hot 100 and number 1 in Canada), co-written by Macaulay with Mike d'Abo, at the time the lead vocalist with Manfred Mann. The group was the first multi-racial group to have a number 1 hit in the UK in the 1960s.^[1]

The Foundations are notable for being one of the few label acts to successfully imitate what became known as the Motown Sound. In terms of line-up and musical style, they anticipated the sound of the more successful Hot Chocolate. They were in a similar musical vein as Love Affair, who also topped the UK charts in 1968 with their version of Robert Knight's "Everlasting Love". The Foundations signed to Pye, at the time one of only four big UK record companies (the others being EMI with its HMV, Columbia Records, and Parlophone labels; Decca; and Philips who also owned Fontana).^[2]

Biography[link]

Origins[link]

The Foundations drew much interest and intrigue due to the size and structure of the group. Not only was there a diverse ethnic mix in the group, but there was also diversity in ages and musical backgrounds. The oldest member of the group was Mike Elliott, who was 38 years old. The youngest was Tim Harris, who, at 18, was barely out of school. The West Indian horn section, which consisted of Jamaican-born Mike Elliott and Pat Burke, both saxophonists and Dominican-born Eric Allendale on trombone. They were all highly experienced musicians who came from professional jazz and rock-and-roll backgrounds. Mike Elliott had played in various jazz and rock and roll bands including Tubby Hayes and Ronnie Scott,^[3] the Cabin Boys (led by Tommy Steele's brother, Colin Hicks), and others. Pat Burke, a professional musician, was from the London Music Conservatorium. Eric Allendale had led his own band at one stage as well as having played with Edmundo Ros and being a former member of the Terry Lightfoot^[4] and Alex Walsh bands. Alan Warner, the guitarist, was also an experienced musician for his age, having played with numerous semi-pro groups from the age of 16.^[5] Bassist Peter Macbeth was a former teacher. Tony Gomez, the keyboard player, was a former clerk, while Clem Curtis had been an interior decorator and professional boxer.

The story of the origins of the Foundations can be somewhat surprising and a bit confusing as to who was responsible for choosing the band's name, and various sources give slightly different accounts of their beginnings. One version is that they were originally called The Ramong Sound,^[5][6] or The Ramongs, and there were two lead singers, Clem Curtis and Psychedelic shock rocker Arthur Brown.^[7] Other variations on this are that after they dropped the "Ramong" from their name, they were then called The Foundation Squad or The Foundation Sound.^[5] Apparently, Arthur Brown was only a temporary member for about one month, and by the time the Foundations had signed to Pye, he had left the group.

The Foundations actually did come together in Bayswater, London in January 1967. They practiced and played in a basement club called the Butterfly Club, which they ran.^[8] While managing the club themselves, they played music nightly, and handled the cooking and cleaning. They would get to bed around 6 or 7 a.m., sleep until 4 p.m., get up and begin again to get ready to open at 8 p.m. Sometimes they barely made enough money to pay the rent, let alone feed themselves. At times, they lived off the leftovers and a couple of pounds of rice.^[9] They stayed there until they were eventually forced out by a protection racket gang and then had to move next door to a dingy unused mini-cab office.^[10]

Career from 1967[link]

While the biography on Allmusic states that Barry Class was the first to discover them,^[1] Alan Warner, the original founding member and lead guitarist of The Foundations and former Ramongs member states that it was actually Fairway who saw them in the dingy office and then introduced them to Class.^[10] Either way, both Fairway and Class teamed up to become their managers.^[11] Class took care of the business management, while Fairway went out promoting and trying to secure gigs for the group.^[10]

When they were at the top spot with "Baby, Now That I've Found You", Fairway commented to Melody Maker that most management would pull them out of the "bargain priced dates" that were booked for some time. He expressed gratitude to everyone for their support, and said that they would fulfill every engagement for which they had signed.^[3]

Not long after "Baby, Now That I've Found You" became a hit, rock historian Roger Dopson describes what followed as a "behind the scenes struggle",^[3] where Fairway was "pushed out" and his partner, Barry Class, remained as sole manager of the group. Fairway later attempted to sue the band, alleging that he was wrongfully dismissed, though the band said that he had resigned of his own accord.^[12] Dopson also noted that Fairway also leaked a story to the media saying that the Foundations had broken up which only served to keep the Foundations name in the news headlines.^{[3] [13]} Fairway and Class eventually introduced them to Pye A&R man Tony Macaulay.^[10] The day Macaulay came to hear them play, he was suffering from what he described as the worst hangover of his life. The band was playing so loud he could not judge how good they were, but he decided to give them a chance.^[3] He would later comment in the book, 1000 UK #1 Hits by Jon Kutner and Spencer Leigh, that he woke up that morning with a stinking headache, and when he got to the studio and heard The Foundations, he thought they were pretty terrible. He decided his hangover was to blame, and so he gave them the benefit of the doubt.^[14]

At first they found progress quite slow, and one of their sax players, Pat Burke, had to drop out of the band and take another job while they went through a rough patch. He did rejoin them again later in 1967.^{[15] [16]}

They did a couple of tours backing The Toys and later Motown Records' Edwin Starr.^[10] Curtis doubted if this group called The Toys was the original Toys let alone American. They were noticed by Brian Epstein who added them to the roster of his NEMS Agency but the contract became void when he died.^[17]

When "Baby Now That I've Found You" was first released it went nowhere. Luckily the BBC's newly founded BBC Radio 1 were looking to avoid any records being played by the pirate radio stations and they looked back at some recent releases that the pirate stations had missed. "Baby, Now That I've Found You" was one of them. The single then took off and by November was number one in the UK Singles Chart.^[2] This was the ideal time because of the soul boom that was happening in England since 1965 and with American R&B stars visiting the UK, interest and intrigue in The Foundations was generated. Their second single released in January 1968, "Back On My Feet Again", did not do as well but made it to #18 in the UK,^[2] and #29 in Canada. Also in January 1968 they were invited to put down some tracks for John Peel's radio show. One of the tracks that they laid down was a cover of ? and the Mysterians garage classic 96 Tears.^[18][19] On the same day PP Arnold was in the studio with Dusty Springfield and Madeline Bell as her backing vocalists.^[18]

Around this time after the release of their second single, there were tensions developing between the band and their songwriter/producer, Tony Macaulay. He would not allow them to record any of their own songs.^[1] In an interview, the band's organ player, Tony Gomez, told NME Magazine in an interview that he, Peter MacBeth, and Eric Allendale had some ideas that they wanted to put together. Curtis later recalled that Macaulay was a problem. "Tony Macaulay was very talented, but could be difficult to get on with. When we asked to record some of our own material - just as B sides, we weren't after the A side - he called us 'ungrateful' and stormed out of the studio."^[3] The group felt that Macaulay had reined in their "real" sound, making them seem more pop-oriented than they were.^[1] Tony Macaulay was later to recall, "I was never close to The Foundations. I couldn't stand them, and they hated me! But the body of work we recorded was excellent."^[3]

A third single, also released in 1968 "Any Old Time (You're Lonely and Sad)", reached #48.^[2]

Curtis and Elliott leave group[link]

Original vocalist Curtis left in 1968, because he felt that a couple of the band's members were taking it a bit too easy, thinking that because they had now had a hit, they did not have to put in as much effort as they had previously.^[1] Saxophonist Mike Elliott also left around this time and was never replaced. Curtis hung around and helped them audition a replacement singer. They auditioned 200 singers. It was reported in a New Musical Express article in 1968 that Curtis while being interviewd at a festival had mentioned that they were trying out Warren Davis to replace him. He said he wouldn't leave the band until they found a replacement.^[20] He had become friendly with Sammy Davis, Jr. and was encouraged to try his luck in the United States. He moved to the US for a solo career on the club circuit, encouraged by the likes of Wilson Pickett and Sam & Dave, playing Las Vegas with the Righteous Brothers. His successful replacement was Colin Young.

New lead singer[link]

With Young the band had two more big hits; "Build Me Up Buttercup" which was their third hit in 1968 and "In the Bad Bad Old Days (Before You Loved Me)" which was a hit in April 1969,^[2] and reached #23 in Canada May 5 that year.

At the height of their popularity, the Foundations management were in negotiations and a UK TV company for a television series that would star members of the band. They had turned down a number of offers to appear in films because of script unsuitability.^[21]

Bassist Peter Macbeth left the band in 1969, to join the group Bubastis with Bernie Living,^[22][23] and was replaced by Steve Bingham.

Beginning of 1970 to the breakup in late 1970[link]

After a successful run of hits, The Foundations broke off with their management and a Bill Graham sponsored tour to support The Temptations at the newly opened Copacabana club. This ended up in disaster and the band came back to the UK in low spirits. It had been previously reported in a publicity sheet around early December 1969 that the band had broken away from their manager Barry Class. Jim Dawson who was formerly their agent and Mike Dolan took over the group's affairs.^[24] The group's final hits were "Born to Live, Born to Die" which was written by Eric Allendale and Tony Gomez.^[25] and "My Little Chickadee", a US only hit which barely made the hot 100. Another member joined the band in 1970. Paul Lockey who had been with Robert Plant in Band Of Joy joined as their bass guitarist.^[26]

"My Little Chickadee" proved to be the band's last hit. In spite of releasing "Take A Girl Like You", the title song to the Oliver Reed and Hayley Mills film, and a heavy blues rock song "I'm Gonna Be A Rich Man", the band split in late 1970.^[27]

1971 to the end of the 1970s[link]

The last record released in the early 1970s as The Foundations was a single "Stoney Ground" b/w "I'll Give You Love" MCA MCA 5075 1971.^[28] By that time the original band had already split up and Alan Warner had been a member of Pluto since joining and helping to form the English progressive rock band in 1970.^[10] There would be two more singles released as The Foundations in the mid to late 1970s.

When Curtis returned to the UK, he formed a new version of the group with little success in spite of releasing several singles, but later had a lucrative spell on the 1960s nostalgia circuit. Curtis' re-formed Foundations have on several occasions and among the many musicians to be part of latter day Foundations were Bill ^[29] and John Springate, the latter becoming a member of The Glitter Band,^[30] Derek "Del" Watson, Paul Wilmot (all members of the band "ELEGY") and Roy Carter who later on joined Heatwave.^[31]

Also in the 1970s there would be a collaborative attempt between two former members of the Foundations. Original Foundations trombonist Eric Allendale attempted to work with original Foundations Foundations drummer Tim Harris.^[32]

In the mid 1970s, while Clem Curtis and The Foundations were on the road, there was also another Foundations line up that was led by Colin Young who were on the road at the same time, who were playing basically the same material. This eventually led to court action which resulted in Curtis being allowed to bill his group as either The Foundations or Clem Curtis & The Foundations. Young was allowed to bill himself as The New Foundations or Colin Young & The New Foundations.^[3]

Also in the mid 1970s, Young and his group, The New Foundations, released a lone single on Pye, "Something For My Baby" / "I Need Your Love".^[3] There were actually two more singles released in the late 1970s as the Foundations. They were "Where Were You When I Needed Your Love" / "Love Me Nice And Easy" and "Closer To Loving You" / "Change My Life" on the Summit and Psycho labels.^[33] These featured Curtis as the lead singer.

Various sources erroneously state that there was an early 1970s English line up that had nothing, or little to do with, the original Foundations. However, Curtis has been leading a new line up of the Foundations since coming back to the UK and reforming the group in the early 1970s.

1980s to present[link]

In or around the late 1980s Curtis and Alan Warner teamed up to recut "Baby, Now That I've Found You" as well as other hits of The Foundations.^[3]

There has also been another line up formed in 1999 that included Young (vocals), Alan Warner (Guitar), Steve Bingham (bass), Gary Moberly (keyboards), Tony Laidlaw (sax) and Sam Kelly then Steve Dixon (drums). This version of the group was reformed due to the popularity of the film There's Something About Mary and the interest created resulting from the 1968 hit "Build Me Up Buttercup" being featured in the film. Some time later Young left this version of the group and was replaced by Hue Montgomery (aka Hugh Montgomery).

Known as Alan Warner's Foundations, this group is on tour in 2012 either in their own right or with The New Honeycombs, Terry Rice-Milton of Cupid's Inspiration, Billie Davis and Keith Powell.

Curtis still appears at venues and tours as Clem Curtis & The Foundations as he has done during the past four decades.

There is a bogus American group using the Foundations name and includes original Foundations hits as part of their repertoire. This group has no connection with the group that recorded the hits on Pye.^{[citation needed]}

Former personnel[link]

The Foundations[link]

• Clem Curtis: lead vocals - born 28 November 1940,^[34] Trinidad, West Indies.
• Colin Young: lead vocals - b. 12 September 1944, Barbados, West Indies - replaced Clem Curtis in 1968.
• Arthur Brown: vocals - b. 24 June 1942 Whitby, Yorkshire, Member for approximately one month in 1967
• Alan Warner: lead guitar - b. 21 April 1947,^[34] Paddington, west London.
• Peter Macbeth: bass guitar - b. Peter McGrath, 2 February 1941,^[34] Marylebone, North London.
• Steve Bingham: bass guitar - b. 4 April 1949, Solihull, Warwickshire.
• Tim Harris: drums - b. 14 January 1948,^[34] St John's Wood, North London - Died 2007
• Tony Gomez: keyboards - b. 13 December 1938,^[34] Colombo, Ceylon - (now Sri Lanka).
• Pat Burke: tenor saxophone/flute - b. 9 October 1937,^[34] Kingston, Jamaica, West Indies.
• Mike Elliott: tenor saxophone - b. 6 August 1929,^[34] Jamaica, West Indies. - Left in 1968
• Eric Allandale: trombone - b. Eric Allandale Dubuisson, 4 March 1936,^[34] Dominica, West Indies — died 23 August 2001.
• Paul Lockey: bass guitar^[35] - joined in 1970 for nine months

Guests[link]

• Mike D'Abo :piano - b. Michael David D'Abo, 1 March 1944, Betchworth, Surrey. Co-wrote and guested on "Build Me Up Buttercup" contributing piano.
• John Mcleod: piano

Clem Curtis & The Foundations[link]

• Clem Curtis: vocals
• James Colah: keyboards
• Michael J. Parlett: saxophone
• Alan Warner: guitar ^[3]
• Roy Carter: bass guitar ^[36]
• George Chandler: backing vocals
• Valentine Pascal: electric guitar

1970s line-up[link]

• Clem Curtis: Vocals
• Bill Springate: guitar
• John Springate: Vocals
• Del Watson: Bass
• Paul Wilmot : Drums
• John Paul: ? ^[37]

1977 line-up[link]

• Clem Curtis: Vocals
• Leroy Carter
• John Savile
• Valentine Pascal
• Georges Delanbanque ^[38]

Discography[link]

Summary of single releases

From the bands beginning to their breakup near the end of 1970, the Foundations released ten singles in the UK including two versions of the same song. A good deal of the songs on the singles were composed by Tony Macaulay and John Macleod. They had four significant hits from these plus a minor hit with one of their own compositions, "Born To Live, Born To Die" and another minor hit with "My Little Chickadee" in the United States. There were other titles announced that were either never recorded or were never released. They were "Our Love Went Thataway",^[39] "Tear Jerker, Music-worker, You" which was to be released around the same time as "Better By Far" by Lulu and "No Place On Earth Could Find You" ^[40][41] In 1971 the single "Stoney Ground" was released. It is believed that this single was actually by Colin Young and his new backing band Development. It seems quite likely as the Colin Young and Development debut single "Any Time At All" pre-dates "Stoney Ground". In the mid and late seventies there were two more singles released under the Foundations name. They were "Where Were You When I Needed Your Love" and "Closer To Loving You" which featured the Northern Soul classic "Change My Life" as the B side. These last two singles to bear the Foundations name featured Clem Curtis once more as the lead vocalist.

Summary of album releases

During the 1960s the Foundations recorded and released four LPs in the United Kingdom. Before the release of their debut album, it was originally announced, in the October 1967 of Beat Instrumental Monthly that the debut album's title was to be Sound Basis.^[9] However, when it was released on Pye, it had the title of From The Foundations. The American version of this album, which was released on the UNI label, was given the title of Baby, Now That I've Found You. This album featured Curtis on lead vocals. The next release was in 1968. It was a live LP called Rocking The Foundations, and also featured Curtis on lead vocals plus two instrumentals "The Look of Love" and "Coming Home Baby". Also in 1968, another LP was released on the Marble Arch label. This featured re-recordings of their previous hits and songs, but with Young on vocals instead of Curtis. It also featured a version of "Build Me Up Buttercup". There was also an American album called Build Me Up Buttercup. This was a compilation of Foundations tracks. Side one consisted of tracks from their Rocking The Foundations album; and side two consisted of "Build Me Up Buttercup", the B side of that single, plus some earlier Foundations tracks. The group's last LP release was in 1969, which featured their hit "In The Bad Bad Old Days", and the minor US hit "My Little Chickadee". Since then there have been various compilations of the Foundations songs, released on both the Golden Hour and PRT labels.

UK singles[link]

• "Baby, Now That I've Found You" / "Come On Back to Me" - Pye 7N 17366 - 1967 - UK #1, US #11
• "Back On My Feet Again" / "I Can Take Or Leave Your Loving" - Pye 7N 17417 - 1968 - UK #18
• "Any Old Time (You're Lonely And Sad)" / "We Are Happy People" - Pye 7N 17503 -1968 - UK #48
• "Build Me Up Buttercup" / "New Direction" Pye 7N 17636 - 1968 - UK #2, US #3
• "In the Bad Bad Old Days (Before You Loved Me)" / "Give Me Love" - Pye 7N 17702 - 1969 - UK #8
• "Born to Live, Born to Die" / "Why Did You Cry" - Pye 7N 17809 1969 - UK #46
• "Baby, I Couldn't See" / "Penny Sir" - Pye 7N 17849 - 1969
• "Take A Girl Like You" / "I'm Gonna Be A Rich Man" - Pye - 7N 17904 - 1970
• "I'm Gonna be a Rich Man" / "In The Beginning" Pye 7N 17956 - 1970
• "Stoney Ground" / "I'll Give You Love" - MCA MKS 5075–1971
• "Where Were You When I Needed Your Love" / "Love Me Nice And Easy" - Summit SU 100
• "Closer To Loving You" / "Change My Life" - Psycho P 2603–1978
• "Baby Now That I've Found You" / "Build Me Up Buttercup" - Old Gold OG9407 - (1979 Re-release)
• "Baby Now That I've Found You" / "Build Me Up Buttercup" - Flashback FBS 6 - (1979 Re-release)
• "Baby Now That I've Found You" (1989 Re Mix) / "Build Me Up Buttercup" - PRT PYS 24 - 1989
• "Build Me Up Buttercup" - CD single - (1998 Re-release) - UK #71

^{[2] [33]}

UK albums[link]

• From the Foundations - Pye NSPL 18206 - 1967
• Rocking the Foundations - Pye NSPL 18227 - 1968
• The Foundations - Marble Arch MALS 1157–1968
• Digging the Foundations - Pye NSPL 18290 - 1969
• Golden Hour of the Foundations (Greatest Hits) - GH 574 - 1973
• Back to the Beat - PRT DOW7 - 1983
• Best Of - PRT PYL 4003–1987

UK EPs 7"[link]

• "It's All Right" - Pye NEP24297 - 1968
• "Mini Monster" - Pye PMM.103

UK EPs 12"[link]

• "Baby, Now That I've Found You" - Pye Big Deal BD 107 - (4 tracks)
• "Baby, Now That I've Found You" - PRT Pyt 24 - 1989 - (3 tracks incl remix)

UK CDs[link]

• Golden Hour Of The Foundations - Knight Records KGH CD 104 - 1990
• Strong Foundations - The Singles and More - Music Club - MCCD 327 - 1997
• Build Me Up Buttercup - Castle Select SELCD 527 - 1998
• Baby, Now That I've Found You - Sequel Records - NEECD 300 - 1999
• Build Me Up Buttercup (The Complete Pye Collection) [Remastered] - Castle - 2004

US singles[link]

• "Baby Now That I've Found You" / "Come On Back To Me" - Uni 55038 - 1967
• "Back On My Feet Again" / "I Can Take Or Leave Your Loving" - Uni 55058 - 1968
• "Any Old Time (You're Lonely And Sad)" / "We Are Happy People" - Uni 55073 -1968
• "Build Me Up Buttercup" / "New Direction" - Uni 55101 - 1968
• "In The Bad Bad Old Days (Before You Loved Me)" / "Give Me Love" - Uni 55117 - 1969
• "Born To Live, Born To Die" / "Why Did You Cry" - Uni 55162 - 1969 - UK #46
• "My Little Chickadee" / "Solomon Grundy" - Uni 55137 - 1969
• "Take A Girl Like You" / "I'm Gonna Be A Rich Man" - Uni 55210 - 1970
• "Stoney Ground" / "I'll Give You Love" - Uni 55315 - 1971
• "Build Me Up Buttercup" / "Baby, Now That I've Found You" - Eric 192 (Re-release)

US albums[link]

• Baby Now That I've Found You - Uni 3016 (Mono)/73016 (Stereo) - 1967
• Build Me Up Buttercup - Uni 73043—1968
• Digging The Foundations - Uni 73058—1969

Canadian singles[link]

• "Baby Now That I've Found You" - Pye 827—1968 - #1
• "Back On My Feet Again" - Pye 833 - #29
• "Build Me Up Buttercup" - Pye 17636 - #1
• "In the Bad Bad Old Days (Before You Loved Me)" - Pye 17702 - #23

References[link]

Reference links and other information[link]

• The Crazy World Of Arthur Brown http://www.richieunterberger.com/brown.html
• Alex Gitlin Pluto page http://www.alexgitlin.com/npp/pluto.htm
• Gary Moberley info http://web.archive.org/web/20091027104142/http://geocities.com/SunsetStrip/Diner/2674/moberley_gary_a.htm
• Pluto Website http://www.pluto-rockband.com/70141/info.php?p=2&pno=0
• Alan Warner site page http://www.alan-warner.com/10102/info.php?p=4&pno=0
• Ride Your Pony http://rideyourpony-twighlightzone.blogspot.com/2007/09/group-made-up-of-west-indians.html
• Mike D'Abo Foundations http://www.mikedabo.com/foundations.htm
• Buddah Records @ Disco-Disco.com http://www.disco-disco.com/labels/buddah.shtml
• www.javirunner-brightsideofthemoon.blogspot.com Info on Barry Class
• www.tamworthbands.com Info on Barry Class

External links[link]

• Clem Curtis & The Foundations web site
• Alan Warner's Foundations official website
• The Foundations at Allmusic
• The Foundations discography at Discogs
• Clem Curtis web site
• Clem Curtis on Myspace
• Alan Warner site page
• Interview with Clem Curtis

This article has multiple issues. Please help improve it or discuss these issues on the talk page. It relies on references to primary sources or sources affiliated with the subject, rather than references from independent authors and third-party publications. Tagged since July 2008. It may require cleanup to meet Wikipedia's quality standards. Tagged since January 2009. It may have been edited by a contributor who has a close connection with its subject. Tagged since September 2010.

Ivan Tucakov and Tambura Rasa
Ivan Tucakov, Vancouver, 2007 Ivan Tucakov, Vancouver, 2007
Background information
Origin	Canada
Genres	World Fusion Balkan Music Afro-Cuban jazz Flamenco Indian Classical Music Gypsy Music
Years active	2004–present
Labels	Independent / Tambura Rasa
Website	www.tamburarasa.com
Members
Ivan Tucakov - guitar Michael Fraser - violin John Bews - bass Trevor Grant - drums

Ivan Tucakov (born in 1978 in Belgrade) is a world music composer, guitarist, producer and promoter currently living in Vancouver, Canada.

History[link]

Tucakov, of Serbo-Croatian descent, spent the first eight years of his childhood in the plains of central Turkey, then moved to live in Serbia, both the crossroads of eastern and western cultures and music. Throughout the years, he has done extensive travelling around the worlds gathering inspiration from various cultures. He explored the techniques of Balkan Music, Afro-Cuban jazz, Flamenco, Indian Classical Music, Music of Cuba, Persian Music, Fado, Gypsy Music and many more.^[1]

Tambura Rasa[link]

Ivan Tucakov formed collective Tambura Rasa with his good friend, tabla player, Tarun Nayar in 2004. Their music merges Tarun's Indian Classical Music knowledge with Ivan's Balkan and Iberian influences. Some of the continuing members of the band include violinist Michael Fraser, bass player John Bews and drummer Trevor Grant & percussionist Pepe Danza.

Tambura Rasa has released two CDs: 'Sunrise on a New World' (2004) and 'Viaje' (2006)

Discography[link]

Studio albums[link]

• Sunrise on a New World (2004)

1. Cinnabar
2. Plamen
3. Funky Bedouin
4. Isla Mujeres / Yuandao (featuring Chris Suen on Diao and Xia)
5. El Gharbi (featuring Aboubacar Camara with African singing)
6. Anadol
7. Hey Mister
8. Ningchen (featuring Chris Suen on Diao and Xia)
9. Makumba (featuring Aboubacar Camara with African singing)
10. Nada

• Viaje (2006)

"Ten tracks fusing rhythms and instruments from Balkan, Iberian, South American and South Asian traditions. A cut above typical flamenco jazz. This has spark, skill and great production." (June 6, 2006) - The Province - by: Stuart Derdeyn

"... It's like a trip around the world, and you don't need to pack or track down your passport. ... The skill level of the performance ensemble is quite high, so world guitar fans should almost consider this a must-have; at the very least, have a listen and hear for yourself. Highly recommended." (Dec, 2006) - Guitar Nine Records

1. Anadol (featuring Brian Poulsen on solo guitar)
2. Jovano Jovanke
3. Delirio (featuring David Sorroche with Flamenco singing)
4. Viaje(featuring Victor Chorobik on duduk and flutes)
5. TJango (featuring Dugg Schmidt on Bandoneon)
6. Ghazal (featuring Aditya Verma on Sarod)
7. Likeadazeickle (featuring Brian Poulsen on solo guitar)
8. Dulces Suenos(featuring Luis Gutierrez with Flamenco singing)
9. Mausim (featuring Victor Chorobik on duduk and flutes and Chris Suen on guzheng)
10. Party Song (featuring Brian Poulsen on solo guitar)

• Kamanala (2008)

"More than just world music, this is positively global in its reach with flamenco and Middle-Eastern music fusing with Balkan, gypsy and Afro-Latin, all performed with great skill and verve" -- J.P.M. - The Province

1. Gypsy Love (featuring Joseph 'Pepe' Danza on Percussion and Flute)
2. Tambura Pana
3. Bandido
4. Loved One
5. Ceo Svet (featuring Anupam Shobhakar on the Sarod)
6. Mujeres
7. Akşam (featuring Anupam Shobhakar on the Sarod)
8. Cintamani
9. Estrella (featuring Joseph 'Pepe' Danza on Percussion)
10. Hang On (featuring Chin Injeti)

• Tambura Rasa Beats (2009)

A lounge electronica compilation of some of Tambura Rasa world fusion compositions from 2005-2009 (Includes Cafe del Mar's releases: Cinnabar Mix and Gypsy Love Mix) The CD "Tambura Rasa Beats" was nominated for the Western Canadian Music Award 2010 World Recording of the Year.

1. Cinnabar Mix (Café del Mar XIII Mix)
2. Tambura Pana (Latin Dub Mix)
3. Isla Mujeres (Bossa Lounge Mix)
4. Mausim (Yoga Mix)
5. Ningchen (Tranquil Morning Mix)
6. Funky B (Desert Mirage Mix)
7. Ghazal (Indian Chill Mix)
8. Gypsy Love Mix (Café del Mar XVI Mix)

• Adsum (2011)

1. Ardor Kadife (Baladi Buleria)
2. Miris Irisa
3. Se Smej
4. A Day With You
5. Oh! Belka
6. Vrcka
7. Soledad
8. Adsum
9. Lamento de Amistad (Siguirilla)
10. New World

Compilation albums[link]

• 2006 - "Cinnabar Mix" - Café del Mar Vol. 13. Ivan's electronic mix of his own song Cinnabar (from the first CD "Sunrise on a New World") is released on this compilation.
• 2009 - "Gypsy Love Mix" - Café del Mar Vol. 16. Ivan's electronic mix of his own song Gypsy Love (from the third CD "Kamanala") is released on this compilation.

Film scores[link]

• 2004 - Golden Rush
• 2005 - On the Bag

Along with those feature length films, Ivan Tucakov has also provided music for Instructional videos by Nick Woolsey's Playpoi.

Books[link]

Mindful Connection Method[link]

Ivan Tucakov - Mindful Connection Method

In 2010 Ivan Tucakov released a book on social dynamics called “The Mindful Connection Method”.

The book was a result years of studying human interactions, thorough research of various psychological tools and theories on communication, working as a PR and road manager for years and a degree in computers and physics, which offered a logical and empirical approach to his writing.

The book is a practical, strategically organized and easy to implement guide that enables us to know where to focus our attention and how to choose actions in order to build and maintain nurturing relationships with others and ourselves. Supported by an illustrated, thorough example throughout and a full practice section at the back, this book offers guidance in areas of personal growth, family dynamics, work settings, conflict resolution, counseling, education, community building, social issues and beyond.

Reviews[link]

"In the midst of a lot of gimmicky fusion, Tambura Rasa stands out as a group that has formed a worthwhile synthesis of music from many cultures." (Dec, 2006) Cultural Arts Magazine - Rambles

References[link]

1. ^ "Georgia Straight Article 2010"

External links[link]

• Tambura Rasa Official web site
• Tambura Rasa Facebook page
• Tambura Rasa Myspace page
• Mindful Connection Method Book Official web site

Parveen Sultana
Parveen Sultana
Background information
Born	(1950-07-10) July 10, 1950 (age 61)
Origin	Assam, India
Genres	Khayal, Bhajans, Thumris
Occupations	Hindustani Classical Music
Instruments	Vocal
Years active	1962–present

Begum Parveen Sultana (born 1950) is an Assamese Hindustani classical singer of the Patiala Gharana. ^[1] She is among the foremost classical vocalists in India and is known as Queen of Classical Vocal.

She was conferred the Padmashri in 1976.

Personal life and background[link]

Parveen Sultana was born at Daccapatty in Nowgong town , Assam, India to Ikramul Mazid and Maroofa Mazid. She went to Mission School .

Her father, late Ikramul Mazid was her first guru and he was very strict with her. She also received early training from her grandfather Mohammed Najeef Khan, a pathan . She later went to Kolkata to learn to learn music under the guidance of late Pandit Chinmoy Lahiri and from 1973, she became a disciple of Ustad Dilshad Khan of the Patiala Gharana.

She is married to Ustad Dilshad Khan.^[2] They have a daughter.

Career[link]

Parveen Sultana gave her first stage performance in 1962 when she was only 12 and has been recording music since 1965.

Sultana has sung for movies like Gadar, Kudrat, Do Boond Pani, and Pakeezah. Recently, she sang the theme song of Vikram Bhatt’s latest opus 1920.^[3] She also sang Humein Tumse Pyaar Kitna - Kudrat 1981.

Parveen Sultana has recorded for HMV, Polydor, Music India, Bharat Records, Auvidis, Magnasound, Sonodisc, Amigo.^[4]

Parveen Sultana performing in Arghya 2011.jpg

Awards and recognition[link]

• Padmashree award - 1976
• Gandharva Kalanidhi - 1980
• Miyan Tansen Prize - 1986
• Sangeet Samraggi conferred by the Assam Government - 1994
• Filmfare Best Female Playback Award--Kudrat (1981) for the song "Hame Tumse Pyar Kitna"[1]
• Sangeet Natak Akademi Award in 1999.
• Srimant Sankardev award by Assam government

Discography[link]

+ evergreen Assamese song: Imaan dhuniya buli nokoba..mur laaj laagi jai

• Safar (Raga Maru Behag & C.)
• Parveen (Raga Rageshri/Mishra Mand)
• Parveen Sultana & Dilshad Khan
• Dilshad Khan and Parween Sultana - Duologue in Raga - 1997

References[link]

External links[link]

Wikimedia Commons has media related to: Parveen Sultana

• Parveen Sultana
• A profile on Parveen Sultana from The Assam Tribune

This article about an Indian singer is a stub. You can help Wikipedia by expanding it. v t e