Social issues provided the basis for several numbers, such as the scathing attack on gentrification, "Open Letter to a Landlord. According to Reid, the Heads cover was one of the band's particular favorites and had been in its live repertoire for some time.
That thing about messages — well, really, the record was about the way we feel. The band's propulsive funk riffs ran headlong into jarring stops and starts; singer Jon King's harangues battled against Andy Gill's noisy guitar lines; bassist Dave Allen's heavy bottom laid down the law as Burnham pounded out tricky tattoos.
The relentless, churning thrust of tracks like "Damaged Goods" and "I Found That Essence Rare" built up unbearable tension, then released it in transcendent explosions. Heeding funkmeister George Clinton's slogan "Free your ass and your mind will follow," Gang of Four was intent on shattering both musical and lyric conventions — that their driving, dissonant music prove danceable was not only necessary, it was also inevitable.
And Gang of Four's revolutionary pop rhetoric not only infiltrated the dance floor — it also invaded the corporate world, as the band was one of the few early postpunk outfits to sign to a major label. It was a situation some found hypocritical, but as Burnham says, "If you've got something to say, and you want people to hear it, what's the best thing to do? Make as many people hear it as possible. The radical musical approach is epitomized by the way Gill's atonal, arrhythmic guitar ricochets all over "At Home He's a Tourist" or by his post-Hendrix feedback on "Anthrax.
The title of the album neatly reflects its own paradox — that of commenting on entertainment and being it. The title comes from the song "," in which a man watching the evening news comes to the realization that "guerrilla war struggle is a new entertainment!
Recording took place in four weeks, from April to May The mood at the studio was hardly convivial — Gill and King helped produce the record, and there was as much jockeying over production credits as good seats at the mixing console. One can spot a clear Gang of Four influence in R. Unfortunately, Gang of Four never quite matched Entertainment!
The album took a year to record and had to sell 1 million copies just to break even. But Def Leppard 's chart torcher Pyromania was worth the time and expense: It sold more than 9 million copies and, with its radio-ready blend of melodic savvy and stadium wallop, defined the mainstream metal sound of the Eighties, for better and worse. For better because the Leppards and their producer, hard-rock auteur Robert John "Mutt" Lange, set precedents for commercially astute songwriting and sheer studio ambition the massive yet airy vocal harmonies, philharmonic layers of guitar without compromising the basic thump.
He sat down with us as a sixth member of the band and participated in the whole thing. Lange and the Leppards worked for months on riffs and choruses, trying different combinations and then sewing them up when they made melodic and commercial sense.
But the writing wasn't all so academic. It sounded great, so we got up and ran over to see what was going on. Steve sat there beaming, saying, 'I fixed it. Pyromania was a hard-rock temple built brick by brick. To get a sound that combined metal muscle with studio precision, Lange recorded each member of the band individually, starting with bassist Rick Savage.
A single guitar riff overdubbed with clean harmonies, funky distortion and screaming feedback might take up to three weeks to record, often one string at a time. When the band members later went to do background vocals, they discovered all of the guitars were slightly out of tune.
It was too late to re-record them, so the guitars were put through an electronic harmonizer to cover up the bum notes. Lange's obsessiveness with the smallest sonic details had a big downside: It was hard to tell, from day to day, whether any progress at all was being made on the record. After an all-night session, Lange would often play work tapes for Leppard comanager Peter Mensch, who lived a short drive from Battery Studios.
There were personal complications, too. Founding rhythm guitarist Pete Willis was fired midway through the sessions because of a debilitating alcohol problem; within forty-eight hours, his replacement, Phil Collen of the London glam-rock band Girl, had cut the solo for "Stagefright. That was nothing compared to the calamity of recording the next LP, Hysteria. That album took three years to record; drummer Rick Allen also lost his left arm in an auto accident.
Fortunately, it takes more than a little trauma to keep a good Leppard down, as Pyromania so ably proved. Captain Beefheart once said of his music, "I'm just throwing up — in tie-dye.
Poised on the cusp of a new decade, Beefheart a. Don Van Vliet poured out his innards in technicolor for Doc at the Radar Station, serving up his most colorful and caustic verse in years on a sprawling, distinctively Beefheartian platter of corrosive avant-rock, jungle-blues squawk, alien-guitar romanticism and willful, yet often playful, atonality.
He added a Mellotron to his aural palette as well, attacking it on "Sue Egypt" and "Ashtray Heart" with the vigor of the Phantom of the Opera. His singing, too, was more animated — going from stratospheric screech to subterranean Howlin' Wolf in a heartbeat — and laced with an unmistakable menace. In short, Doc at the Radar Station is the true emotional and musical heir to Beefheart's epic masterpiece Trout Mask Replica, capturing his remarkable art with power and unprecedented cohesion.
Beefheart recognized his own achievement at the time; one Doc rocker is proudly titled "Best Batch Yet. As always, Beefheart dictated the content of his twelve songs for Doc at the Radar Station to the Magic Band in obsessive detail, presenting tapes of himself playing the piano, or sometimes just whistling a phrase, and telling the band to interpret it, exactly.
For "Sue Egypt," Tepper says, there were sections on Beefheart's demo "where he was literally screaming bloody murder into a tape recorder. And then going, 'Here, play this. Guitarist-drummer John "Drumbo" French, who had played on Trout Mask Replica and was already familiar with Beefheart's idiosyncrasies, recalls the rather odd way the band did backing vocals on "Run Paint Run Run. I think the reason he did that was to get that anger, that kind of screaming out of us.
He wanted us to sound really desperate. And it came out real well. Beefheart's own desperation is evident on the record. Doc at the Radar Station was, in a sense, Beefheart's last hurrah. After Ice Cream for Crow, in , a weary and frustrated Beefheart retired from music to concentrate on painting he did the cover art for Doc at the Radar Station. But when contacted recently at his northern-California retreat, Beefheart said that he still listens to Doc a lot, often while painting.
The paintbrush is my pen now. Lou Reed 's album The Blue Mask was "the end of something," as Reed put it in a Rolling Stone interview, "the absolute end of everything from the Velvet Underground on. The Blue Mask was the final ending and Legendary Hearts [the follow-up] like a coda. The Blue Mask certainly marked a crossroads in Reed's life and art.
In stark contrast to his well-publicized personal and musical indulgences of the Seventies, Reed was now married and enjoying the new-found domestic calm documented in "My House" and "Heavenly Arms," the ballads that bookend the album.
The Blue Mask harks back to the twin-guitar violence of the Velvets and Reed's earliest literary conceits "My House" is dedicated to his mentor at Syracuse University, the poet Delmore Schwartz. At the same time, the album casts a hopeful eye toward the future while effectively closing the book on Reed's extended narrative odyssey through the dark side of human experience — violence "The Gun" , alcoholism "Underneath the Bottle" and spiritual isolation the howling "Waves of Fear".
Reed, who had already written definitive songs about drug addiction and sexual perversion, managed to top himself with the title track, which was packed with graphic images of sexual torture, Oedipal desire and, finally, castration. Initially, Reed gave each member of the band a bare-bones demo of the songs for The Blue Mask, with Reed singing and strumming an electric guitar.
There were no rehearsals as such before the band went into the studio in October According to Robert Quine, "We'd just go in every day and do at least one, maybe two songs.
We'd start to play and the arrangement would take shape. To preserve the spontaneity and bare-knuckles sound of the band, each track was recorded live Reed redid his vocals later and usually nailed down in two or three takes. That's a great moment when [Reed] takes that guitar solo at the end. It's every bit as brutal and energized as his stuff with the Velvet Underground. With a cosmic giggle, Clinton co-opted the new technology — sequencers, samples, remixing, looping and scratching.
In addition to reestablishing Clinton early in the new decade, Computer Games netted him a comeback hit in "Atomic Dog," a funky ode to man's best friend filled with canine woofing and all sorts of rhythmic trickery that has since been sampled on numerous rap and hip-hop records.
Throughout his four decades in music, Clinton's sales figures have never been a true measure of his influence. In the Seventies he forged a white-rock-black-funk synthesis with the bands Parliament and Funkadelic, much as Sly Stone and Jimi Hendrix had done in the Sixties. Parliament featured horns and was closer to soul, while Funkadelic emphasized guitars and was closer to rock. There were many offshoot projects as well, with Clinton juggling roles as master conceptualist.
In , however, an overworked Clinton put P-Funk on hold and took time off to straighten out personal and legal business. Almost two years later, Computer Games announced his return. Clinton worked especially hard on the album to prove that "I still had my brain together," he says.
I just had to find that out for myself, and I think I was all right,". In truth, Clinton was often brilliant, giving an Eighties face lift to funk on "Atomic Dog" and looping up a storm on the wild collage of old and new soul songs titled "Loopzilla.
In fact, says Clinton, "'Atomic Dog' wouldn't get out of the way for any other single off that album. With fleas and ticks. Out of the bleak and dusty streets of Soweto, South Africa's largest black township, springs music that's joyous and proud — and you can dance to it.
Trevor Herman, an expatriate white South African "I left for the obvious reasons" , compiled these twelve tracks, which were recorded in the early Eighties, when a resurgence in township music, known as mbaqanga, and consciousness about apartheid propelled the music out of South Africa and won it international acclaim.
Mbaqanga takes its name from a doughy cake sold on township streets — it's very workaday music that deals with everything from drunken husbands to gossips to hard-working miners.
Everything is celebrated in song, in the rhythm of living. An alloy of several tribal styles as well as jazz and reggae, mbaqanga shares a number of similarities with the blues, and not just because it is a music born of oppression. Like modern blues, mbaqanga came about when workers flooded into major cities, bringing their local music with them. And like the blues, mbaqanga got electrified when it came to the city.
One strand of mbaqanga music comes from hymns learned from missionaries, very evident in Ladysmith Black Mambazo's stirring "Nansi Imali" "Here Is the Money". With a steady beat adorned by droning acoustic guitars, tinkling electrics and rich vocal harmonies that are joyous, gritty and real, mbaqanga became party music played in shebeens illegal bars ignored by the government , at workers' parties, on the street and in the recording studio, where groups often united for one-shot recordings.
Herman theorizes that the strong beat came from American groups such as the Supremes. Since many mbaqanga bands are ethnically mixed, their music brings together different black ethnic groups; if South Africa's black majority hasn't prevailed because it is a house divided, it's not the fault of mbaqanga.
In the final analysis, it's inspirational music. On Empty Glass , his second solo album, Pete Townshend chronicled the personal tumult he was experiencing and initiated an adult style of songwriting that helped reenergize the singer-songwriter tradition in the Eighties. Eight of the ten songs were written following Who drummer Keith Moon's death late in In December of , during the band's American tour, eleven fans died in a preconcert crush outside Riverfront Coliseum, in Cincinnati.
Meanwhile, the members of the Who were repeatedly dismissed as worn-out ancients by Britain's scornful punks. Amid the turmoil, Townshend resolved to make a solo album. It allowed me to be myself. It dignified me, in a way, to be cast to one side.
I felt uneasy with the way the Who were inevitably on the road to mega-stardom. On Empty Glass, Townshend's ambivalent obsession with punk dominates both the lyrics and the music. Produced by Chris Thomas, who'd recently worked with the Pretenders and the Sex Pistols, the album was raw, muscular and focused in a way the Who never would be again.
Although he'd begun a spiral of booze and drugs that would lead to a bout with alcoholism and a temporary split with his wife, Karen, Townshend pledged in "A Little Is Enough" to make the best of their fitful marriage. Of course, a literal reading of a songwriter as complex as Townshend can be deceptive, as in "Rough Boys" and "And I Moved" written for Bette Midler , taken by some as confessions of homosexual lust.
Townshend said, "A lot of gays and a lot of bisexuals wrote to me congratulating me on this so-called coming out. I think in both cases the images are very angry, aren't they? I can frighten you! I can hurt all you macho individuals simply by coming up and pretending to be gay! Later, he admitted that the Who seemed much less viable as a result: "I think the only thing that really went wrong was that I realized, as soon as Empty Glass was finished, 'Hey, this is it.
I'm not able to achieve with the band what I've achieved here. Metal machine rhythms and twisted, tortured guitars echo Ian Curtis's anguished vocals, while synthesizers add a feeling of steely, high-tech alienation. Peter Hook's bass often carries the melody, an innovation much copied since — there's not a doom rocker around who doesn't owe something to Joy Division, but they're just gray imitations of a deep, dark band.
Joy Division's powerful first album, Unknown Pleasures, had topped the British independent charts in , yet the members of the band weren't fully satisfied with the sound of it. Less than a year later they recorded Closer. Curtis acted as musical director; as Sumner says, "The madder the music sounded, the more pleased he would be with it. The members of the band would sleep all day and work through the night, undisturbed, until dawn, when twittering birds would sometimes find their way onto the studio tapes.
Sumner says that while they were recording a room sound, they picked up a phantom whistling the tune of "Decades" — odd, since the building was otherwise deserted. Figuring it was a bad omen, they left it off the record. Ironically, Curtis dropped hints about his fate, yet no one could decipher them. He once told Sumner, "I feel like I'm caught in a whirlpool and I'm being dragged down and there's nothing I can do about it. John Fogerty began recording Centerfield , the album that revived his long-dormant career, right after he attended the major-league-baseball All-Star Game at San Francisco's Candlestick Park in the summer of Fogerty's seats were, he notes, in center field.
Fogerty's hopes were, of course, rewarded. Creatively, the album found Fogerty at the top of his form, and it contains songs that rival his best work from CCR's glory days. Centerfield shows Fogerty to be a mature record maker.
It is a concept album that can be taken as simply a great collection of songs, a kind of "Whitman's sampler of what John Fogerty is about," as he puts it.
While some of the songs on Centerfield, like "Rock and Roll Girls" and "Big Train From Memphis ," evoke lost innocence, others cynically portray Fogerty's experiences in the music business. But the story Fogerty tells on Centerfield has a happy ending. The title track, of course, is the centerpiece of the album, a song about getting another chance at the big time, and "I Can't Help Myself" expresses the excitement John Fogerty felt at once again being a player on the rock scene.
Fogerty had been trying to write songs for an album for years, but he says they just didn't come together. Toward the end of he finally regained his muse. Because Fogerty worked from detailed demos and notes, recording was straightforward and painless. Here's a case where the guy who wrote the songs literally put all the sprockets on the drums. It wasn't shipped off to have a bunch of roadies to do — each thing was actually hand-done by me.
For Fogerty, everything was riding on the fate of the album. I had to do more than just finish the sucker — it had to be good enough to be a hit. There was a lot of stuff to be proven. It was more than the act of just finishing the race — I had to win the race. We were in danger of being categorized as a kind of quirky, gloomy bunch of weirdos. The band's playful side indeed shines through on the album's nine songs, which include such tracks as the wobbly "Making Flippy Floppy," the animated "Girlfriend Is Better" and the cheery "This Must Be the Place Naive Melody.
And years of touring had given the Heads a sense of how to craft songs that would appeal to their audience. It's not like everything is premeditated, but we had this feeling that it's not just about art. It's also about entertainment. When we went out on tour after that, it was the first time that the kids would go nuts for the songs off the current album. Byrne sang nonsense lyrics, which he later refined. I'd done that a little bit before, but it was the first time I'd done it for a whole record.
We didn't want to lose them, because they were so free and they fit right in. The chorus in the opening song, "Burning Down the House," was inspired by a Parliament-Funkadelic show. Hey, it was a classic title.
But what we really wanted to do was rock the house. John Hiatt made his best album, the brilliant and skillful Bring the Family, in record time — four days in February , to be exact. On it, Hiatt was accompanied by a small, simpatico ensemble of all-star musicians: guitarist Ry Cooder, bassist Nick Lowe and drummer Jim Keltner. The sessions were preceded by no rehearsals or preproduction.
Lowe, in fact, went straight from the airport to the studio, arriving just in time to cut "Memphis in the Meantime," a song he had never heard before. The spontaneity of it all, Hiatt believes, was largely responsible for the understated, forthright collection of songs that resulted. Producer John Chelew imposed a four-day limit on the sessions; his motivation had less to do with economics or scheduling than a desire to capture the performances with an unstudied, first-take freshness.
Hiatt himself likens it to a jazz session, where a band runs a tune down a few times, cuts it and moves on. There were seat-of-the-pants decisions made at every turn. When the band couldn't settle on an arrangement for the moving, confessional "Have a Little Faith in Me," Hiatt banged it out alone at the piano during a break, and it wound up on the album in that form.
Lowe's breathless arrival the first day gave "Memphis in the Meantime" its odd, loopy rhythms. Hiatt is especially fond of Bring the Family's love songs. Having beat his alcohol and drug problems in , Hiatt was a clearheaded, happily married and much less vituperative songwriter.
The emotional openness and spiritual resurgence carried through the whole album — which, amazingly enough, was made at a time when Hiatt didn't even have a record deal in America. It went against the corporate approach to record-making, which is 'It can't be any good; you didn't spend any time or money on it! To the contrary, Bring the Family is one of the most sublime and deeply felt albums of the Eighties. I'm not trying to feign humility, but it was just such a group effort.
It's a very inspirational bunch. I would like to go on record to say I sure hope it happens again. After that, they go, ' Whoa, wait a second. They step back and say, 'Okay, now we're gonna do it. Iovine's description is an apt summary of the road Dire Straits traveled to get to Making Movies, which followed the band's distinctive debut, Dire Straits, and its disappointing second album, Communique. The description also captures the nature of Knopfler's ambitions for the record.
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Galaxy 2. Sweet Fighting Lady 4. Hey Senorita 5. The Seven Tin Soldiers. Spill the Wine 2. Tobacco Road 3. All Day Music 4. Slippin' into Darkness - single version 5.
Get Down 6. Nappy Head Theme from Ghetto Man - single version 7. World Is a Ghetto, The - single version 8. City, Country, City - special edit 9. The Cisco Kid Where Was You At Four Cornered Room - single version Gypsy Man - single version Me and Baby Brother Deliver the Word - single version Southern Part of Texas Ballero - live, single version Tracks of Disc 2 1. Low Rider 2. Heartbeat 4. Smile Happy 5. Summer - single version 7. Sunshine - single version 8.
River Niger 9. Galaxy Youngblood Livin' in the Streets - single version I'm the One Who Understands Cinco de Mayo You Got the Power - single version Outlaw - single version Baby, It's Cold Outside Peace Sign - single version Fatal Beauty CD. Make It My Night 2. Casanova 3. Just That Type Of Girl 4. Edge Of Love 5. Criminal Theme from Fatal Beauty 6.
Didn't I Blow Your Mind 7. Berry left the band the following year, and Stipe, Buck, and Mills continued as a trio. After the electronic experimental direction of Up that was commercially unsuccessful, Reveal was referred to as "a conscious return to their classic sound" which received general acclaim.
In , the band was inducted into the Rock and Roll Hall of Fame , in its first year of eligibility. In order to "redeem themselves" after the lukewarm reception of Around the Sun , the band released the well-received albums Accelerate and Collapse into Now The pair discovered that they shared similar tastes in music, particularly in punk rock and protopunk artists like Patti Smith , Television , and the Velvet Underground.
Stipe said, "It turns out that I was buying all the records that [Buck] was saving for himself. Rafael Pelayo reports that when his colleague Dr. Dement was told that the band was named "not after REM sleep". The band members eventually dropped out of school to focus on their developing group. Touring was arduous because a touring circuit for alternative rock bands did not then exist.
During April , R. Initially distributing it as a four-track demo tape to clubs, record labels and magazines, the single was released in July on the local independent record label Hib-Tone with an initial pressing of 1, copies— of which were sent out as promotional copies. The single quickly sold out, and another 6, copies were pressed due to popular demand, despite the original pressing leaving off the record label's contact details. Records acquired a demo of the band's first recording session with Easter that had been circulating for months.
Hague's emphasis on technical perfection left the band unsatisfied, and the band members asked the label to let them record with Easter. After hearing the track, I. Central Rain I'm Sorry ", became the first single from the band's second album, Reckoning , which was also recorded with Easter and Dixon.
The band's third album, Fables of the Reconstruction , demonstrated a change in direction. Instead of Dixon and Easter, R. The band members found the sessions unexpectedly difficult, and were miserable due to the cold winter weather and what they considered to be poor food;  the situation brought the band to the verge of break-up.
Lyrically, Stipe began to create storylines in the mode of Southern mythology , noting in a interview that he was inspired by "the whole idea of the old men sitting around the fire, passing on Stipe had bleached his hair blond during this time. Meanwhile, I. For its fourth album, R. The result, Lifes Rich Pageant , featured Stipe's vocals closer to the forefront of the music. In a interview with the Chicago Tribune , Peter Buck related, "Michael is getting better at what he's doing, and he's getting more confident at it.
And I think that shows up in the projection of his voice. The single " Fall on Me " also picked up support on commercial radio. Following the success of Lifes Rich Pageant , I. Shortly thereafter, I. Don Gehman was unable to produce R.
Document featured some of Stipe's most openly political lyrics, particularly on "Welcome to the Occupation" and "Exhuming McCarthy", which were reactions to the conservative political environment of the s under American President Ronald Reagan.
Frustrated that its records did not see satisfactory overseas distribution, R. Jay Boberg claimed that R. In a departure from Green , the band members often wrote the music with non-traditional rock instrumentation including mandolin , organ , and acoustic guitar instead of adding them as overdubs later in the creative process. After spending some months off, R. Late in , the band released Automatic for the People.
Though the group had intended to make a harder-rocking album after the softer textures of Out of Time ,  the somber Automatic for the People "[seemed] to move at an even more agonized crawl", according to Melody Maker. Considered by a number of critics as well as by Buck and Mills to be the band's best album,  Automatic for the People reached numbers one and two on UK and US charts, respectively, and generated the American Top 40 hit singles " Drive ", " Man on the Moon ", and " Everybody Hurts ".
The decision to forgo a tour, in conjunction with Stipe's physical appearance, generated rumors that the singer was dying or HIV-positive , which were vehemently denied by the band. After the band released two slow-paced albums in a row, R. In January , R. The tour was a huge commercial success, but the period was difficult for the group. He had surgery immediately and recovered fully within a month. Berry's aneurysm was only the beginning of a series of health problems that plagued the Monster tour.
Mills had to undergo abdominal surgery to remove an intestinal adhesion in July; a month later, Stipe had to have an emergency surgery to repair a hernia. The band brought along eight-track recorders to capture its shows, and used the recordings as the base elements for the album.
In a retrospective on the band, Consequence of Sound ranked it third out of R. This one may be third behind Murmur and Automatic for the People.
However, while it required some time and commitment from the listener, the record's contents were rich, compelling and frequently stunning. Accordingly, the album has continued to lobby for recognition and has long since earned its reputation as R. Time 's writer Christopher John Farley argued that the lesser sales of the album were due to the declining commercial power of alternative rock as a whole. In April , the band convened at Buck's Kauai vacation home to record demos of material intended for the next album.
The band sought to reinvent its sound and intended to incorporate drum loops and percussion experiments. Berry told the press, "I'm just not as enthusiastic as I have been in the past about doing this anymore. I have the best job in the world. But I'm kind of ready to sit back and reflect and maybe not be a pop star anymore.
I guess a three-legged dog is still a dog. It just has to learn to run differently. The band cancelled its scheduled recording sessions as a result of Berry's departure. We couldn't rehearse without a drummer. The recording process was plagued with tension, and the group came close to disbanding.
Bertis Downs called an emergency meeting where the band members sorted out their problems and agreed to continue as a group. However, the album was a relative failure, selling , copies in the US by mid and eventually selling just over two million copies worldwide.
A year after Up ' s release, R. The film took its title from the Automatic for the People song of the same name.
Global sales of the album were over four million, but in the United States Reveal sold about the same number of copies as Up. Al Friston described the album as "loaded with golden loveliness at every twist and turn", in comparison to the group's "essentially unconvincing work on New Adventures in Hi-Fi and Up.
In , Warner Bros. He then sat behind the drum kit for a performance of the early R. During production of the album in , Stipe said, "[The album] sounds like it's taking off from the last couple of records into unchartered R. Kind of primitive and howling". EMI released a compilation album covering R. The Best of the I. Years — —the label had previously released the compilations The Best of R. That same month, all four original band members performed during the ceremony for their induction into the Georgia Music Hall of Fame.
In October , R. Work on the group's fourteenth album commenced in early The band recorded with producer Jacknife Lee in Vancouver and Dublin, where it played five nights in the Olympia Theatre between June 30 and July 5 as part of a "working rehearsal". Live , the band's first live album featuring songs from a Dublin show , was released in October The album debuted at number two on the Billboard charts,  and became the band's eighth album to top the British album charts.
For the album, the band aimed for a more expansive sound than the intentionally short and speedy approach implemented on Accelerate. For additional information, see the Global Shipping Programme terms and conditions - opens in a new window or tab This amount includes applicable customs duties, taxes, brokerage and other fees.
For additional information, see the Global Shipping Programme terms and conditions - opens in a new window or tab. Free postage. Start of add to list layer. Watch this item Add to wish list. Sign in for more lists. No additional import charges on delivery. This item will be sent through the Global Shipping Programme and includes international tracking. Learn more - opens in a new window or tab.Joe Loss LVO OBE (b. June 22, in Spitalfields, London – d. June 6, ) was an English musician and founder of The Joe Loss Orchestra. He was the undisputed doyen of big bandleaders. Loved and respected by his public and profession alike, he had a style and musical policy that kept him at the top of the big band world for 60 years.