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SCOTT WALKER
One of the most enigmatic figures in rock history, Scott Walker was known as Scotty Engel when he cut obscure flop records in the late '50s and early '60s in the teen idol vein. He then hooked up with John Maus and Gary Leeds to form the Walker Brothers. They weren't named Walker, they weren't brothers, and they weren't English, but they nevertheless became a part of the British Invasion after moving to the U.K. in 1965. They enjoyed a couple of years of massive success there (and a couple of hits in the U.S.) in a Righteous Brothers vein. As their full-throated lead singer and principal songwriter, Walker was the dominant artistic force in the group, who split in 1967.
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Source: Richie Unterberger
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ULTRAVOX
Rejecting the abrasive guitars of their punk-era contemporaries in favor of lushly romantic synthesizers, Ultravox emerged as one of the primary influences on the British electro-pop movement of the early '80s.
Formed in London in 1974, the group - originally dubbed Ultravox! - was led by vocalist and keyboardist John Foxx (born Dennis Leigh), whose interest in synths and cutting-edge technology began during his school years. With an initial line-up consisting of bassist Chris Cross, keyboardist/violinist Billy Currie, guitarist Steve Shears, and drummer Warren Cann, their obvious affection for the glam rock sound of David Bowie and Roxy Music brought them little respect from audiences caught up in the growing fervour of punk, but in 1977 Island Records signed the quintet anyway, with Brian Eno agreeing to produce the band's self-titled debut LP.
After scoring a minor U.K. hit with the single "My Sex," Ultravox returned later that year with Ha! Ha! Ha!; sales were minimal, however, and Shears soon exited, replaced by guitarist Robin Simon. A third LP, 1978's Systems of Romance, was recorded in Germany with renowned producer Conrad Plank, but it too failed commercially. Island soon dropped the band, at which time both Foxx and Simon quit, the former mounting a solo career and the latter joining Magazine.
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At that point the remaining members of Ultravox tapped singer/guitarist Midge Ure, an alumnus of Silk as well as Glen Matlock's Rich Kids; upon signing to Chrysalis, the new line-up recorded Vienna, scoring a surprise smash hit with the single "Sleepwalk," which reached the number two spot on the U.K. pop charts in 1981 and pushed the LP into the Top Five. The album's title track also fared well, peaking at number two on the charts and remaining there for several weeks.
After 1981's Rage in Eden, Ultravox teamed with legendary producer George Martin for 1983's Quartet; their most successful LP in the otherwise impenetrable American market, it launched the minor hit "Reap the Wild Wind." Upon completing 1984's Lament, Warren Cann left Ultravox to forge a solo career.
The remaining members, after adding Big Country's Mark Brzeicki, resurfaced with U-Vox in 1986 before going their separate ways. Currie and Simon re-formed the band in 1993, adding vocalist Marcus O’Higgins; three years later, they released the lack-luster Ingenuity with Sam Blue on lead vocals. The album marked the group's final studio release.
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Buzzcocks
For over thirty years the Buzzcocks have been a figurehead of the English punk movement. In all these years the Buzzcocks never made concessions to freaks of fashion or dominant trends. Instead, they remained loyal to their own sound: beautiful songs drenched in punk energy, combining raw guitar riffs with intelligent lyrics.
Buzzcocks was formed in Manchester in the mid-seventies. Guitarist and vocalist Pete Shelley and vocalist Howard Devoto started their first musical project in 1975, inspired by electronic music, Brian Eno and American proto-punk groups like The Stooges. When Shelley and Devoto read an NME review of the first Sex Pistols live performance, the Buzzcocks as we now know them were born. In the spring of 1976 Shelley and Devoto organised two concerts of the Sex Pistols in Manchester’s Lesser Free Trade Hall. The second gig was supported by the Buzzcocks, by now complete with drummer John Maher and bass guitarist Steve Diggle.
Soon the Buzzcocks themselves became one of the most popular punk bands. In late 1976 they issued their debut EP ‘Spiral Scratch’ on their own label ‘New Hormones’. This was a milestone in the punk movement. The EP sounded raw, energetic, repetitive and minimalist and became a guideline for the punk sound. Establishing your own label to issue a record was later often repeated, at the summit of the do-it-yourself attitude of the punk era.
After these first eventful months Devoto left the band to form Magazine. Pete Shelley took over the vocals and Diggle switched from bass to guitar. With Steve Garvay as bass guitarist they signed with United Artists Records in 1977. The first single to be issued on this label was ‘Orgasm Addict’, a song which is still brash today, but caused a real stir in England of the 1970s. The BBC banning the single didn’t damage the sales figures whatsoever. The following albums ‘Another Music In A Different Kitchen’ and ‘Love Bites’ stormed the charts and the Buzzcocks toured all over Europe and America. They issued a third album ‘A Different Kind Of Tension’, before the group split up in 1981. Since 1989 the Buzzcocks have been reunited. The current line-up includes Shelley, Diggle, bass guitarist Chris Remington (who replaced long-standing band member Tony Barber in 2006) and drummer Danny Farrant. The Buzzcocks released their eighth studio album ‘Flat Pack Philosophy’ in 2006. In the 21st century the Buzzcocks are still relevant, not just as an innovative guitar band, but also as a continuing source of inspiration for the younger generation.
Leonor Jonker
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Roxy Music
Founded in 1970-71, they could be considered an Oldies band. Roxy Music has always been made up by bits of the past mixed with bits of the future. Their edgy, well crafted music has influenced Progressive, Glam, Art Rock and even Punk.
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Art School grad Bryan Ferry ( vocals, and lyrics ) placed the original advert to find musicians. Graham Simpson, the bassist from Ferry's Art School band was already on board. The ad was answered by Andy Mackay, sax and oboe player, and Brian Eno, painter, and non musician / sound sculptor, Phil Manzanara on guitar, and in 1971 ( The Great ) Paul Thompson joined on Drums.
Roxy were always a mix of high art and low brow culture. They reveled in dynamic time shifts, clever wordplay, and unconventional orchestration.Crooner vocals, with Doo Wop back up singers,muscular bass, and minimal guitar lines melted into to searing, distorted and spaced out leads. Processing and undefinable noises by Eno on synthesizer.
The first two albums, Roxy Music, and For Your Pleasure, are the classics.The debut album became a Top 10 hit. Eno would leave after the second album, replaced by Edie Jobson on synth and electric violin.
Between 1974 and 1977 Roxy Music produced 3 more albums-Stranded, Country Life, and Siren. These continued the eclectic mix of styles, adding Gospel, funk elements, and early Disco. Country life was the first of their albums to enter the US top 40, and Siren contained the big US hit " Love is the Drug". Ferry cultivated his semi-ironic, Lounge Lizard persona, which started to make Roxy Music seem more like a backing band for Ferry's Cabaret act than a rock band. This may be part of what lead to their break up in 1976.
Reforming in 1978, they made Manifesto, and in 1980 Flesh + Blood. Manifesto showed a radical change in the Roxy sound. These albums stripped away the creative mix of styles, and left soft jazz and standard pop cliches. 3 core members remained, and the albums were overloaded with session musicians. The former anarchic power of the debut album was gone. Flesh + Blood is considered by many to be Roxy's weakest effort.
1982 produced the final Roxy album, Avalon. Mostly synthetic, it has a shimmering, mystical appeal, and it became a major success. Avalon also contains their final hit, More Than This.
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