Their first national tour saw them open for labelmates Thin Lizzy.Ĭity Boy's follow up album, Dinner At The Ritz, garnered powerful reviews. Their next single, "The Hap-Ki-Do Kid" earned them an appearance on BBC's Top Of The Pops, where they became the first act to ever perform 'live' on the show. "Shake My Head and Leave", City Boy's first single off their eponymously titled debut album, was released in 1975 and received decent airplay. Lange became the de facto seventh member of the band, helping Chris Dunn hone his bass guitar skills and assisting with vocal arrangements.
Hattip wikipedia music full#
Soon afterwards they secured a recording contract with Vertigo, a new sub-label of Phonogram Records, and changed their name from Back In The Band, to City Boy.Ĭity Boy's first five albums were produced by Robert John "Mutt" Lange, who was recommended to them by Phonogram A&R guy Chris Peers, and their debut album entitled City Boy, was the first full album that Mutt produced after relocating to the UK from South Africa.
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The four of them toured the folk clubs for a while, until around late '74/early '75, when they made the decision to turn electric and added Mike Slamer (guitar) and Roger Kent (drums) to the lineup. Soon thereafter they enlisted Lol Mason's friend, Max Thomas, to play 12 string guitar and bongos. At one of these clubs they met ragtime guitarist Chris Dunn, who immediately became a third member. In the early 1970s, Lol and Steve started playing for beers in a few acoustic clubs around the Midlands. They remained best friends throughout the years and started writing and recording their early songs in their mid to late teens. Lol Mason and Steve Broughton (Lunt) met at 7 years of age, at school in Birmingham. 1978, left-to-right: Max Thomas, Chris Dunn, Lol Mason, Steve Broughton, Mike Slamer, Roy Ward Music theory is important for people who perform music because all these things help people to understand the music they are playing.City Boy lineup, ca. These rules describe what composers of the past did, rather than telling composers of today what to do - in fact, music composed today can have completely different rules than the music of the past. These rules are not laws, they simply mean: the way that most great composers wrote music in the past. In a conservatory program, they study harmony and counterpoint as well as form in other programs, they spend less time on the theories of the past. Today people who want to compose will study music theory, perhaps at college or university school of music. In spite of their titles the first halves of these two books are both about a branch of music theory called "performance practice": They tell us a lot about how music was played in those days, how some rhythms were played quite freely and how ornaments in the music were played. Both these books were extremely well known in their day. Leopold Mozart (the father of the famous Wolfgang Amadeus Mozart) wrote a book called The Art of Playing the Violin. Carl Philipp Emanuel Bach (son of the famous Johann Sebastian Bach) wrote a book called: “An Essay on the true art of playing the Keyboard”. In the 18th century some composers wrote books on music theory.
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Their ideas are interesting for us because they tell us what people thought about music at that time. In the Middle Ages there were several famous music theorists who wrote books about music theory. He understood the science of the good vibrations that the instruments make and explained how and why the octave is divided into twelve parts(in some cultures). In the times of the Ancient Greeks the famous philosopher Pythagoras tried to explain how instruments are tuned. It is important for both composers and performers to understand what makes the music sound the way it does. People who play or sing music are “performers”. People who make their own music are composers. Someone who makes a special study of music theory is a music theorist.
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Theory of Music is all about trying to understand how existing music works and how new music could or should be organized.