Robert Fripp
TOYAH WILLCOX
Toyah Willcox is a highly successful, creative and incredibly diverse woman. Her major hit records and many prestigious stage and screen roles have made her one of Britain's biggest household names.
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Her musical career spans three decades and highlights include 13 UK top 40 singles, over 30 albums and she is considered one of the greatest women in British music. More recently, she formed a new band called The Humans with Bill Rieflin (also in REM), Chris Wong and special guest appearances by rocker husband, Robert Fripp of King Crimson fame.
Willcox began life in Birmingham where she started out in acting school. She had a role in the classic, Quadrophenia. She played the brash and blonde Monkey which launched her as belligerent and anti-establishment figure.
Meanwhile, she had also started up her own band, simply called Toyah. By 1979, the band released its first EP called Sheep Farming in Barnet. The second album, The Blue Meaning, slipped into the Top 40 and with the critical acclaim of her previous release, she was heralded as an up-and-coming talent.
By 1981, the track It’s a Mystery helped to secure her appearances on hit TV shows like Top of the Pops and The Old Grey Whistle Test Christmas Special. This was followed by several other hits including Thunder In The Mountains (#4) and I Want to Be Free (#8). The following year, she was awarded Best Female Singer in the Rock & Pop Awards (known today as the BRITs).
Although 1981 was the last year she had any top 10 hits, her EPs and albums continued to do well.
In the mid-80s, Willcox went solo and had some modest hits with Don’t Fall in Love (I Said) and a version of Echo Beach.
After concentrating mainly on her acting career, Willcox returned with avengence in 2007 with a digital release called Latex Messiah and two years later, she formed The Humans and released a cover of Nancy Sinatra’s These Boots Are Made For Walking.
Toyah continues to work in music, writing and performing, whilst refusing to compromise any aspect of her multi-faceted and varied career.
Albums:
Source: Juanita Appleby
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XTC
XTC was one of the smartest -- and catchiest -- British pop bands to emerge from the punk and new wave explosion of the late '70s. From the tense, jerky riffs of their early singles to the lushly arranged, meticulous pop of their later albums, XTC's music has always been driven by the hook-laden songwriting of guitarist Andy Partridge and bassist Colin Moulding. While popular success has eluded them in both Britain and America, the group has developed a devoted cult following in both countries that remains loyal over two decades after their first records.
Partridge, Moulding, and drummer Terry Chambers formed the first version of the band around 1976, calling themselves Star Park. As punk rock took off in 1977, the group changed their name to Helium Kidz and added keyboardist Barry Andrews. After being turned down by CBS Records, the band changed their name to XTC and secured a record contract with Virgin; they released their first EP, 3-D, in October of 1977. White Music, the band's first full-length album, was recorded in a week and released by the end of the year. Critics praised the angular yet melodic pop, and the album reached number 38 in the U.K. charts. However, none of the singles released from the album charted (including "This Is Pop"), nor did "Are You Receiving Me?," the teaser single for their second album, Go 2 (1978).
After returning from a brief U.S. tour, Andrews quit the band; he would eventually form the League of Gentlemen with Robert Fripp, as well as pursue a solo career. Guitarist David Gregory was added to the lineup after Andrews' departure and the group recorded their first charting single, "Life Begins at the Hop." XTC released their third album, the calmer, more pop-oriented Drums and Wires, that summer; the record climbed to number 37 on the charts, thanks to the hit single "Making Plans for Nigel." While Drums and Wires began to climb the U.S. charts, Partridge released his first solo album early in 1980; outside of the band's devoted fans, the record appeared without much fanfare.
XTC continued to smooth out their edges on 1980's Black Sea, bringing in elements of mid-'60s Beatles and Kinks to their guitar-driven pop; thanks to the singles "Generals and Majors" and "Towers of London," it was the group's most successful American album, peaking at number 41 while reaching number 16 on the British charts. Released the following year, English Settlement featured more complex arrangements, as well as more intellectual lyrics, particularly from Andy Partridge. Nevertheless, the album was XTC's biggest success in the U.K., reaching number five on the album charts and launching the Top Ten single, "Senses Working Overtime."
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While on tour in March of 1982, Partridge collapsed while on-stage, suffering from exhaustion. Less than a month later, he collapsed again with a stomach ulcer. The band canceled the tour shortly after his second collapse, prompting Chambers to leave the group. In November, Partridge announced that XTC would never play live again, concentrating on recording instead; he also blamed his collapses on intense stage fright. As the band completed their new album, a compilation called Waxworks -- Some Singles (1977-1982) was released at the end of the year.
Mummer, the first album the studio-bound XTC recorded, appeared in the summer of 1983; former Glitter Band member Pete Phipps recorded the drum tracks for the record. XTC refused to tour for the record, which caused some tension between the band and Virgin, and was presumably the reason why "Love on a Farmboy's Wages" didn't make it past number 50 on the charts. Recording under the name the Three Wise Men, the group released the holiday single "Thanks for Christmas" at the end of the year.
Released in the fall of 1984, The Big Express essentially followed the same pattern as Mummer, yet it charted higher in the U.K. XTC released a psychedelic parody album, 25 O'Clock, under the name the Dukes of Stratosphear in 1985. After a difficult recording session with producer Todd Rundgren, the pastoral Skylarking appeared in the fall of 1986. Upon its release the album was hailed as a masterwork by critics, even though the band were claiming they were unsatisfied with the production. Skylarking was a bigger hit in the U.S. than it was in the U.K., spending over six months on the charts and peaking at number 70.
XTC recorded another Dukes of Stratosphear album, Psonic Psunspot, in 1987; the two Stratosphear albums were collected on one disc the following year. Oranges and Lemons (1989) reworked the psychedelia of the Stratosphear side-project, leaving out much of the loopy humor and replacing it with a Ray Davies-inspired nostalgia. The album was a minor hit in both Britain and America, reaching number 28 and number 44, respectively; "Mayor of Simpleton" became XTC's only charting U.S. single, reaching number 72 while peaking at number 46 on the British charts. Three years later, the group released Nonsuch, an album that recalled both Pet Sounds and Revolver. Like every XTC record, its critical acclaim was greater than its sales -- the album dropped out of the British charts after two weeks. In America, Nonsuch was more successful, reaching number 97 and staying on the charts for 11 weeks. Years of internal difficulties and label battles kept the group from releasing any new material for much of the decade, however, and not until 1999 did the next XTC album, Apple Venus, Pt. 1, finally appear. Wasp Star (Apple Venus, Pt. 2) followed in mid-2000.
XTC's lack of commercial success isn't because their music isn't accessible -- their bright, occasionally melancholy, melodies flow with more grace than most bands -- it has more to do with the group constantly being out of step with the times. However, the band has left behind a remarkably rich and varied series of albums that make a convincing argument that XTC is the great lost pop band.
Original members include Terry Chambers (left group 1982), drums; Colin Moulding (born in Swindon, England, 1956), bass, vocals, keyboards; and Andy Partridge (born in Malta, 1954), guitar, vocals, keyboards; later members include Barry Andrews (band member 1977-1979), keyboards; Dave Gregory (joined group 1979), guitar, keyboards; and John Perkins (left group 1977), keyboards.
Band formed in Swindon, England, 1976; originally called the Helium Kidz; signed with Virgin Records, 1977, and released 3D-EP-, released debut album, White Music, 1978; signed with Geffen Records, 1983; released Mummer, 1983; recorded two records, 25 O'Clock, 1985, and Psonic Psunspot, 1986, as the Dukes of Stratosphear.
Addresses: Record company—Geffen Records, 1755 Broadway, 6th Floor, New York, NY 10019.
Albums: (all records produced by Virgin Records unless noted)
White Music, 1978.
Go 2, 1978.
Drums and Wires, 1979.
Black Sea, 1980.
English Settlement, 1982.
Mummer, 1983.
The Big Express, 1984.
25 O'Clock, 1985.
Skylarking, 1986.
Psonic Psunspot, 1987.
Oranges and Lemons, 1989.
Nonsuch, 1992.
Apple Venus Volume 1, Cooking Vinyl, 1999.
Wasp Star (Apple Venus volume 2), Cooking vinyl, 2000.
Source: artistdirect.com; Simon Glickman
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KING CRIMSON
In 1967, two brothers, Michael and Peter Giles auditioned guitarist Robert Fripp to join their band. Despite wanting to recruit a singer/keyboard player, Fripp was asked to join. Following the unsuccessful release of a couple of singles and an album, they added multi-instrumentalist Ian McDonald to the line up to enhance the sound.
Fripp, by now frustrated with the lack of success and the overall sound, suggested adding his friend Greg Lake to the band to replace the equally frustrated Peter Giles. In turn, McDonald brought in his friend, Pete Sinfield to help out with lights, and lyrics. Starting rehearsals in early 1969, Sinfield christened the band "King Crimson" who made their live debut in April that year. By now a mellotron had been added to McDonald’s keyboard set up and this sound would become the most recognisable sound in the burgeoning Progrock movement of which the band would play a huge part in establishing. Following a high profile gig supporting the Rolling Stones at Hyde Park, the debut album was released in October 1969. Receiving huge acclaim, “In The Court Of The Crimson King” proved to be a masterpiece. From the striking cover artwork to the highly imaginative,informed and experimental music, it was performed with a precision and intensity that would result in the boundaries of rock music forever being redrawn. The first track, the brutal “21st Century Schizoid Man” set the scene with its doomy effect-laden vocals and jazzy time signatures. Following this were two mellow almost ambient tracks but it is the final two that established the sound of the band. Both Epitaph and In The Court Of The Crimson King employed heavy use of the mellotron and contained surreal lyrics. Amazingly for a debut release, the album entered the chart at number 5 as it took its place among the rock elite. Following a successful introduction to the States, tensions that would follow the band throughout their career surfaced and the first classic King Crimson line up split in December 1969. Leaving just Fripp and Sinfield to fly the flag, the early momentum was lost and the level of success would never be achieved again.
In The Court Of The Crimson King
Fripp and Sinfield rallied the troops to record the follow up album. “In The Wake Of Poseidon” It met with a mixed reception. General opion was that it was a pale copy of the first. One track however was different. “Catfood” with its jazz piano, courtesy of Keith Tippett, was an indication of a new direction. After recruiting new members Gordon Haskell, Mel Collins and Andy McCulloch and with Sinfield now playing synthesisers, the third album, “Lizard” was recorded in 1970. This was the most inaccessible release to date containing some of Sinfield's more obtuse words and featuring a selection of jazz musicians. The recurring theme of band members leaving continued and for the next album, Islands where Boz Burrell and Ian Wallace replaced Haskell and McCulloch. Despite all the comings and goings, “Islands” was a gorgeous album. Softer and more structured it contained more restrained playing from the invited jazz musicians. However a growing distance appeared between Fripp and Sinfield over this period and eventually ended with Fripp giving Sinfield the call to leave the band after the release of “Islands” Fripp then began recruiting for replacements for his next vision of Crimson. Radically different now, John Wetton (bass), Bill Bruford, (drums), David Cross (Violin) and Jamie Muir (percussion) joined Fripp in the latest line up. With no one else left from the original band, this was the opportunity that Fripp wanted to escape from the clutches of the first album. “Larks Tongue In Aspic” in 1973 and “Starless And Bible Black” the following year, seemed to put the band back on track. Both reached the top 30 in the UK and contained strong songs littered with melodies but with enough experimentation to satisfy their cult following. While live, the band bombarded the audience with a metal like assault. This was too much for David Cross whose violin was lost in the noise and for Jamie Muir who left. (to join a Tibetan monastery it was rumoured!).
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Fripp was by now having his own spiritual crisis and split the band “completely and for ever and ever” in September 1975. He relocated to New York where his work with artists such as Peter Gabriel, David Bowie, Talking Heads and Blondie gained him much respect from the mainstream. Now heavily into electronics, he developed his “Frippertronics” tape loop system with Brian Eno that would be used in various forms on all future work. Solo albums followed, usually including a wide selection of guest artists from the above list. Some short-lived bands were formed and split. In 1981 he formed “Disipline” with Tony Levin, Adrian Belew and old mate Bill Bruford. In October that year, searching for some commercial success on his own, he decided to rename the band “King Crimson” With second guitarist Belew in the mix, Fripp was able to concentrate on a new sound for Crimson. Using all manner of electronics they were producing truly progressive music. Disappointingly for some, however, the mighty mellotron had been put out to grass. The band released three albums with this line up, “Discipline” in 1981, “Beat” in 1982 and “Three Of A Perfect Pair” in 1984. All were well received with tightly constructed sounds with modern new wave and post punk influences. By the time of the third album however, tensions had appeared and this resulted in one side of the album having a lighter, poppier feel, while the other was more extreme at Fripp’s insistence. Consequently the band broke up and it would be a further 10 years before the name of King Crimson would be heard again. Fripp get himself busy during this period forming a number of short-term bands and contributing his original sounds to a number of recordings. He also started a guitar school and formed his own record label, DMG which would result in a number of rare recordings being released in future years.
Following encouragement from Belew, Fripp decided to reassemble the band as King Crimson in 1994. The line-up consisted of Fripp, Belew, Trey Gunn, Tony Levin, Pat Maslelotto, and once again Bill Bruford. Running the band as “Two Trios” the band released “Thrak” in 1995.which contained some incendiary twin guitar and masses of electronics, which had now progressed, from “Frippertronics” to “Soundscapes” to keep up with the digital age. The six-piece band proved to be awkward to manage so Fripp split the band into smaller units. These he called “ProjeKcts”. This enabled the band to work on various compositions before bringing them to the main band. Bruford became unhappy with this set up and left for the last time. From here onwards, with regular long gaps between albums and tours, the band has continued. Tapping into industrial metal and sonic ambience the band still push the boundaries.
King Crimson has been at the forefront of “Progressive Music” for 40 years. Never afraid to take risks they have gone their own way and poked out their tongues at the music industry. Many past members have gone on to huge success in other bands such as ELP. Bad Company, Foreigner and Asia. Many contemporary bands have cited King Crimson as a major influence.
When things became comfortable, Fripp would split the band or head off on a musical tangent that would alienate and exasperate both fans and label chiefs. But this is what their long-suffering fans want. Never predicable, the legacy they leave will ensure the King will reign for a long long time.
Roger Gibbens
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