Wired for sound which year

At the age of 16 Harry Webb was given a guitar by his father. Harry then formed a vocal group called the Quintones. In Webb became the lead singer of a British rock group named the Drifters. Cliff Richard would go on to record nearly singles that made it onto the UK charts. While his popularity in the USA was erratic, he was a big seller in Vancouver. On this survey of 1, songs he appears on 22 occasions. It was during this time that Harry Greatorex, who was promoting the band, gave Harry Webb the stage name, Cliff Richard.

Cliff Richard had his first single on the Vancouver charts peak at number one in the fall of Fans in Vancouver were wild about Richards. He had a string of hits between and , and again in the late 70s onward. Of these 12 made the Top Ten and three peaked at 1. In the UK Cliff Richard had 26 of his first 28 singles, from reach the Top Ten, which included a record of 23 Top Ten singles in a row, ending in the middle of Of these 15 singles were non-album singles.

It would seem with the coming of the British Invasion that Cliff Richard would be discovered by the American record-buying public. However, it was not to be.

Robertson was born in Glasgow in He had three Top Ten hits on the UK charts between and It became a Top Ten hit in the UK in and again in Over the years Tarney has produced many hit records.

Over the years Alan Tarney produced nine songs by A-ha in the s and nine singles for Cliff Richard. His girlfriend likes the love they share to be amplified. The compact cassette first came on the market in In , the Advent Corporation combined Dolby B noise reduction system with chromium dioxide CrO 2 tape to create the first high-fidelity cassette deck. Single recordings were first released on 78 RPM records.

He returned to the city to perform at the Orpheum on July 13, Then, on June 30, , he helped to carry the Olympic torch from Derby to Birmingham as part of the torch relay for the Summer Olympics in London. Cliff Richard has also been active as a philanthropist. In October he went on tour at the age of In total, there are 60 tracks here-- most of which were first released on vinyl-only in the mids-- spread over 70 minutes, although it's not necessary for one to have a sense of the song's or genre's history to enjoy it.

The mix combines the moments of release-- the peaks of each track-- so there are no breakdowns and a total absence of any sort of ebb-and-flow dynamic.

Instead, it's an exquisitely blended scrum, an exhausting high-speed compact consolidation of harsh rhythm and sonic sludge best listened to one mix at a time than in one minute setting.

Unlike many of the releases on the purposefully low-key Violent Turd Kid's bastard-pop label , Wired for Sound isn't a smothering of pop sensibilities in splatter beats and sonic goo. Instead, it's a flat-out denial of some of the more pop elements of jungle-- omissions that will irk some, but no doubt be welcome to others.

So while Detroit-based Soundmurderer Todd Osborn, with help from Tadd Mullinix resurrects jungle, it does so with a very selective memory. There is certainly a bit of self-serving revisionist history on display here as Osborn is celebrating the template in which his own ragga-jungle music-- to date only available on inch singles-- is rooted, but he's not passing the mixes off as a definitive compilation or even an accurate representation of the time or scene, so no bother.

The three mixes focus on the infancy of jungle: the explicit influence of high-speed, sometimes Caribbean rhythms and ragga rude bwoys on hardcore rave. Leaving room for ragga artists such as Barrington Levy, Cutty Ranks, Ninjaman, and Dennis Brown, Soundmurderer is mostly interested in interpretations of their rhythms and postures, a reimagination of jungle as the dark music of swaggering almost gangsta individuals rather than the domain of communality.

Even though it was artists like Shy FX-- included here-- who first broke jungle in the UK charts, this bass- and dancehall-heavy style soon dissipated, replaced by the often jazz-oriented, whitewashed "intelligent" drum and bass that hastened jungle's mostly ignominious ending. So although Osborn clearly suffers tunnel vision, his focus on the paranoia and dread of darkcore is as welcome a narrow focal point as he could have chosen.

And with ragga written out of too much of the unofficial history of jungle, it's a potentially crucial one as well.