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Canned Heat

Canned Heat is an American blues and rock band that was formed in Los Angeles in 1965. The group has been noted for its efforts to promote interest in blues music and its original artists. It was launched by two blues enthusiasts Alan Wilson and Bob Hite, who took the name from Tommy Johnson's 1928 "Canned Heat Blues", a song about an alcoholic who had desperately turned to drinking Sterno, generically called "canned heat". After appearances at the Monterey and Woodstock festivals at the end of the 1960s, the band acquired worldwide fame with a lineup of Hite (vocals), Wilson (guitar, harmonica and vocals), Henry Vestine and later Harvey Mandel (lead guitar), Larry Taylor (bass), and Adolfo de la Parra (drums).

The music and attitude of Canned Heat attracted a large following and established the band as one of the popular acts of the hippie era. Canned Heat appeared at most major musical events at the end of the 1960s, performing blues standards along with their own material and occasionally indulging in lengthy "psychedelic" solos. Three of their songs — "Going Up the Country", "On the Road Again", and "Let's Work Together" — became international hits.

Since the early 1970s, following the early death of Wilson, numerous personnel changes have occurred. For much of the 1990s and 2000s and following Taylor's death in 2019, de la Parra has been the only member from the band's 1960s lineup. Walter Trout and Junior Watson are among the guitarists who played in later editions of the band.

Origins and early lineups
Canned Heat was started within the community of blues collectors. Bob Hite had been trading blues records since his early teens, and his house in Topanga Canyon was a meeting place for people interested in music. In 1965, some blues devotees there decided to form a jug band and started rehearsals. The initial configuration included Hite as vocalist, Alan Wilson on bottleneck guitar, Mike Perlowin on lead guitar, Stu Brotman on bass and Keith Sawyer on drums. Perlowin and Sawyer dropped out within a few days, so guitarist Kenny Edwards (a friend of Wilson's) stepped in to replace Perlowin, and Ron Holmes agreed to sit in on drums until they could find a permanent drummer.

Another of Hite's friends, Henry Vestine (who had been let go from Frank Zappa's Mothers of Invention for smoking pot), asked if he could join the band and was accepted, while Edwards was kept on temporarily. Soon Edwards departed (he went on to form the Stone Poneys with Bobby Kimmel and Linda Ronstadt), and at the same time Frank Cook came in to replace Holmes as their permanent drummer. Cook already had substantial professional experience, having performed with such jazz luminaries as bassist Charlie Haden, trumpeter Chet Baker, and pianist Elmo Hope, and had also collaborated with black soul/pop artists such as Shirley Ellis and Dobie Gray.

In 1966, producer Johnny Otis brought them into a studio to record material for a first album, with the ensemble of Hite, Wilson, Cook, Vestine, and Brotman. However, the recordings went unissued until 1970 when they appeared as Vintage Heat, released by Janus Records. Otis oversaw the session which produced a dozen tracks, including two versions of "Rollin' and Tumblin' (with and without harmonica), "Spoonful" by Willie Dixon, and "Louise" by John Lee Hooker in his studio in Los Angeles. Over a summer hiatus in 1966, Stuart Brotman effectively left Canned Heat after he had signed a contract for a long engagement in Fresno with an Armenian belly-dance revue. Canned Heat had contacted Brotman, touting a recording contract which had to be signed the next day, but Brotman was unable to make the signing on short notice. Brotman would go on to join the world-music band Kaleidoscope with David Lindley, replacing Chris Darrow. Replacing Brotman in Canned Heat was Mark Andes, who lasted only a couple of months before he returned to his former colleagues in the Red Roosters, who adopted the new name Spirits Rebellious, later shortened to Spirit.

After joining up with managers Skip Taylor and John Hartmann, Canned Heat finally found a permanent bassist in Larry Taylor, who joined in March 1967. He was a former member of the Moondogs and the brother of Ventures' drummer, Mel Taylor, and already had experience backing Jerry Lee Lewis and Chuck Berry in concert, and recording studio sessions for the Monkees.

This lineup (Hite, Wilson, Vestine, Taylor, Cook) started recording in April 1967 for Liberty Records with Calvin Carter, who had been the head of A&R for Vee-Jay Records and had recorded such bluesmen as Jimmy Reed and John Lee Hooker. They recorded "Rollin' and Tumblin', backed with "Bullfrog Blues", and this became Canned Heat's first single. The first official album, Canned Heat, was released three months later in July 1967. All tracks were re-workings of older blues songs. The Los Angeles Free Press reported: "This group has it! They should do very well, both live and with their recordings." Canned Heat fared reasonably well commercially, reaching number 76 on the Billboard chart.

Rise to fame and formation of the classic lineup
The first big live appearance of Canned Heat was at the Monterey Pop Festival on June 17, 1967. A picture of the band taken at the performance was featured on the cover of Down Beat where an article complimented their playing: "Technically, Vestine and Wilson are quite possibly the best two-guitar team in the world and Wilson has certainly become our finest white blues harmonica man. Together with powerhouse vocalist Bob Hite, they performed the country and Chicago blues idiom of the 1950s so skillfully and naturally that the question of which race the music belongs to becomes totally irrelevant." D.A. Pennebaker's documentary captured their rendition of "Rollin' and Tumblin' and two other songs from the set, "Bullfrog Blues" and "Dust My Broom", found a place later in a boxed CD set in 1992.

Canned Heat also began to garner their notoriety as "the bad boys of rock" for being jailed in Denver, Colorado, after a police informant provided enough evidence for their arrest for drugs (an incident recalled in their song "My Crime"). Band manager Skip Taylor was forced to obtain the $10,000 bail by selling off Canned Heat's publishing rights to Liberty Records president Al Bennett.

After the Denver incident, Frank Cook was replaced with Adolfo de la Parra, who had been playing the drums in Bluesberry Jam (the band which evolved into Pacific Gas & Electric). As an official member of Canned Heat, de la Parra played his first gig on December 1, 1967, sharing top billing with the Doors at the Long Beach Auditorium. This began what de la Parra refers to as the classic and perhaps best known Canned Heat lineup, which recorded some of the band's most famous and well-regarded songs. During this "classic" period, Skip Taylor and John Hartmann introduced the use of band member nicknames:
 * Bob "The Bear" Hite
 * Alan "Blind Owl" Wilson
 * Henry "Sunflower" Vestine (and later Harvey "The Snake" Mandel)
 * Larry "The Mole" Taylor
 * Adolfo "Fito" de la Parra

Their second released album, Boogie with Canned Heat, included "On the Road Again", an updated version of a 1950s composition by Floyd Jones. "On the Road Again" became the band's breakout song and was a worldwide success. The album also included a twelve-minute version of "Fried Hockey Boogie", (credited to Larry Taylor, but derived from John Lee Hooker's "Boogie Chillen' riff) allowed each member to stretch out on his instrument while establishing them with hippie ballroom audiences across America as the "kings of the boogie". Hite's "Amphetamine Annie" (a "speed kills" tune inspired by the drug abuse of an acquaintance and reminiscent of Albert King's "The Hunter"), became one of their most enduring songs and one of the first "anti-drug" songs of the decade. Although not featured on the album's artwork, this was the first Canned Heat album to have featured drummer de la Parra.

With this success Taylor, Hartmann and new associate Gary Essert leased a Hollywood club they named the Kaleidoscope, in which Canned Heat essentially became the house band; Jefferson Airplane, Grateful Dead, Buffalo Springfield and Sly and the Family Stone also performed there. Also in 1968, after playing before 80,000 at the first annual Newport Pop Festival in September, Canned Heat left for their first European tour. It entailed a month of concert performances and media engagements that included television appearances on the British show Top of the Pops. They also appeared on the German program Beat Club, where they lip-synched "On the Road Again".

"Going Up the Country" and Woodstock
In October, the band released their third album, Living the Blues, which included "Going Up the Country", their best-known song. Wilson's recreation of Henry Thomas' "Bull-Doze Blues" was almost a note-for-note copy of the original, including Thomas' instrumental break on the "quills" (pan-pipes) which Jim Horn duplicated on flute. Wilson rewrote the lyrics with a simple message that caught the "back-to-nature" attitude of the late 1960s. The song was a hit in numerous countries around the world (number 11 on the Billboard Hot 100) and was used as the unofficial theme song of the Woodstock Festival in Michael Wadleigh's 1970 documentary. The album also included a 19-minute experimental track "Parthenogenesis", which was a nine-part sound collage of blues, ragas, jaw-harp sounds, guitar distortion and other electronic effects; all pulled together under the direction of manager/producer, Skip Taylor. Longer still is "Refried Boogie", clocking in at over 40 minutes, recorded live at the Kaleidoscope.

Also recorded live at the Kaleidoscope around this time was the album, which was later 1971 released with the deceptive title, Live at Topanga Corral (later renamed Live at the Kaleidoscope), by Wand Records because Liberty Records did not want to release a live album at the time and manager Skip Taylor did not want a lawsuit. The band ended 1968 in a big way at a New Year's show at the Shrine Auditorium, in Los Angeles, with Bob Hite riding a painted purple dayglo elephant to the stage.

In July 1969, just prior to Woodstock, Hallelujah, their fourth album was released. The Melody Maker review included: "While less ambitious than some of their work, this is nonetheless an excellent blues-based album and they remain the most convincing of the white electric blues groups." The album contained mainly original compositions with lyrics relating to the band such as Wilson's "Time Was" and a few re-worked covers like "Sic 'em Pigs" (Bukka White's "Sic 'em Dogs") and the original "Canned Heat" by Tommy Johnson.

Within days of the album's release, Vestine left the group after an on-stage blow up at the Fillmore West between himself and Larry Taylor. The next night after Mike Bloomfield and Harvey Mandel jammed with Canned Heat, both were offered Vestine's spot in the band's lineup and Mandel accepted. The new lineup played two dates at the Fillmore before appearing at Woodstock in mid-August.

Arriving via helicopter at Woodstock, Canned Heat played their set on the second day of the festival at sunset. The set included "Going Up the Country" which became the title track in the documentary, even though the band's performance was not shown. The song was included in the first (triple) Woodstock album; while the second album, Woodstock 2, contained "Woodstock Boogie". The expanded 25th Anniversary Collection added "Leaving This Town" to the band's collection of Woodstock performances and "A Change Is Gonna Come" was included on the director's cut of the documentary film; leaving only "Let's Work Together" to be released.

Before their European tour in early 1970, the band recorded Future Blues, an album containing five original compositions and three covers. "Let's Work Together", a Wilbert Harrison song, was the single chosen for release in Europe to coincide with the tour. At the band's insistence the U.S. release was delayed in order to offer the author's version a chance in the market first. Canned Heat had a big hit with "Let's Work Together" and was the band's only top forty hit to feature the vocals of Bob "The Bear" Hite. The album featured piano by Dr. John and an atypical jump blues style also. Some controversy was sparked by the Moon landing/Iwo Jima album cover and the upside-down American flag. The upside-down flag was Wilson's idea and was a response to his love of nature, growing environmentalism and concern that humankind would soon be polluting the Moon as well as the Earth (as reflected in his song "Poor Moon").

Material from their 1970 European tour provided the tracks for Canned Heat '70 Concert Live in Europe, later retitled Live in Europe. It was a live album that combined tracks from different shows throughout the tour, but was put together in such a way as to resemble one continuous concert for the listener. Although the album garnered some critical acclaim and did well in the UK (peaking at number 15), it had only limited commercial success in the U.S.; Returning from Europe in May 1970, an exhausted Larry Taylor left the band to join John Mayall (who had moved to Laurel Canyon, California) and was followed by Mandel.

Hooker 'n Heat and the death of Wilson
With Taylor and Mandel gone, Vestine returned on guitar, accompanied by bassist Antonio de la Barreda who had played with de la Parra for five years in Mexico City and was previously a member of the groups Jerome and Sam & the Goodtimers. This lineup went into the studio to record with John Lee Hooker the tracks that would yield the double album, Hooker 'n Heat. The band had originally met Hooker at the airport in Portland, Oregon, and discovered they were fans of each other's work. Hooker and Canned Heat became good friends and Hooker had stated that Wilson was "the greatest harmonica player ever".

The planned format for the sessions called for Hooker to perform a few songs by himself, followed by some duets with Wilson playing piano or guitar. The rest of the album featured Hooker with some backing by the group (sans Bob Hite, who co-produced the album along with Skip Taylor). The album was finished after Wilson's passing and became the first album in Hooker's career to make the charts, topping out at number 73 in February 1971. Hooker 'n Heat reunited in 1978 and record a live album at the Fox Venice Theatre in Los Angeles, released in 1981 as, Hooker 'n Heat, Live at the Fox Venice Theatre, under Rhino Records. Also in 1989, Canned Heat (and many others) guested on John Lee Hooker's album The Healer.

Shortly after the original Hooker 'n Heat sessions, Wilson, who had always suffered from depression, was said by some to have attempted suicide by driving his van off the road near Hite's home in Topanga Canyon. Unlike other members of the band, Wilson did not have much success with women and was deeply upset and frustrated by this. His depression also worsened over time. On September 3, 1970, just before leaving for a festival in Berlin, the band learned of Wilson's death by barbiturate overdose; his body was found on a hillside behind Hite's home. De la Parra and other members of the band believed that his death was a suicide. Wilson died at the age of 27, just weeks before Jimi Hendrix, and then Janis Joplin, died at the same age.

Historical Figures, New Age and Human Condition lineups
Joel Scott Hill, who had played with the Strangers and the Joel Scott Hill Trio, was recruited to fill the void left by Wilson's death. The band still had a touring contract for September, as well as upcoming studio dates. That fall they toured Australia and Europe; including a show played in Baarn, Netherlands, for the VPRO television program Piknik and the following summer they appeared at the Turku Festival in Finland. These performances were recorded, but the recordings were not released until much later, with the albums Live at Turku Rock Festival in 1995 and Under the Dutch Skies 1970–74 in 2007 (which encompassed three separate tours). At the end of 1971 a new studio album, Historical Figures and Ancient Heads, was released. The album included Hite's vocal duet with Little Richard on "Rockin' with the King", written by Skip Taylor and featuring the guitar playing of both Vestine and Joel Scott Hill.

This lineup of Hite, Vestine, Scott Hill, de la Barreda and de la Parra did not last, as the band was in disarray; Scott Hill and de la Barreda's attitudes were not fitting in with the rest of the band, and drummer de la Parra decided to call it quits. He was talked out of it by Hite, and it was Scott Hill and de la Barreda who left the band instead.

New additions to the group were James Shane on rhythm guitar and vocals, Ed Beyer on keyboards, and Richard Hite (Bob Hite's brother) on bass. This lineup recorded what was the band's last album for Liberty/United Artists Records, The New Age, released in 1973. This album featured the popular biker-themed anthem "The Harley-Davidson Blues", written by James Shane. The era of the late 1960s was changing, but nonetheless the band embarked on another European tour, during which they recorded a session with Memphis Slim in Paris for the album Memphis Heat. They also recorded with Clarence "Gatemouth" Brown, while still in Paris, for the album Gates on the Heat (both were released by Blue Star Records). Footage from this era is included on the DVD Canned Heat Live at Montreux (2004).

Met with hard times, de la Parra writes that the band resorted to importing drugs from Mexico to make ends meet between shows. Over $30,000 in debt, manager Skip Taylor advised the band to sign away their future royalties to their previous Liberty/United Artists material and jump to Atlantic Records. After a bad introduction to Atlantic Records, which included a brawl between Hite and Vestine over a vending machine, the band released the album One More River to Cross in 1973. Produced by Roger Hawkins and Barry Beckett, this album had a different sound and featured the Muscle Shoals Horns.

On a subsequent promotional tour of Europe, this new "horn band" sound included the talents of Clifford Solomon and Jock Ellis. Absent from Canned Heat at this time, after growing ever more distant, was longtime manager Skip Taylor, who had left after the band joined Atlantic. Atlantic producer Tom Dowd tried to get one more album out of Canned Heat, despite their drug use and heavy drinking; they ultimately recorded an album's worth of material at Criteria Studios in Miami, Florida, during 1974 (featuring some collaboration with former member Mandel), but Atlantic ended its relationship with Canned Heat before it could be released. The masters for the bulk of the material, which had been kept at Skip Taylor's house, were destroyed in a fire, and what material was rescued by de la Parra was finally restored and issued decades later, in 1997, titled The Ties That Bind.

Shortly thereafter, new manager Howard Wolf set up the struggling band with a gig at California's Mammoth Ski Resort. Bob Hite, in a foul rage, went off on the crowd, to the disapproval of Vestine, James Shane and Ed Beyer, who quit the band as a result.

Taking the place of those who departed were pianist Gene Taylor and guitarist Chris Morgan, who both joined in late 1974. Taylor departed in 1976 in response to an argument during a tour of Germany, and after a brief fill-in by Stan Webb (of Chicken Shack), Mark Skyer came in as the new guitar player. In the meantime the band had worked out a deal with Takoma Records, and this "Human Condition/Takoma" lineup recorded the 1977 album Human Condition. Despite the appearance of the Chambers Brothers on the album, it was met with very little success, largely because of the growing popularity of disco music in the late 1970s. Before long, more arguments ensued, and Mark Skyer, Chris Morgan and Richard Hite all quit the band in 1977. Hite promptly hired a new bass player, Richard Exley, after befriending him on tour and watching his performance with the band Montana. Becoming fast friends with Hite, Exley toured the remainder of the year with the band and collaborated with Hite on many of the arrangements during their 1976 Texas Bicentennial Comeback Tour. Exley then quit the band after an argument over Hite's excessive drinking and drug use on stage. Frustrated and fed up, Exley joined the Texas Heartbreakers at the end of that year but returned periodically to fill in as a favor to Hite while the band struggled to find permanent members amidst heavy drinking and drug use. Exley remarked about his time with the band, "No one ever remembers the bass player ...". This effectively reduced the band's members to just Hite and de la Parra.

Burger Brothers revival and the death of Bob Hite
The popularity of the blues genre rose in the late 1970s and early 1980s with the release of the musical-comedy film The Blues Brothers (1980), starring Dan Aykroyd and John Belushi. During this time, de la Parra had bought into the partnership of an East Hollywood recording studio at which he was again working with former bandmate Larry Taylor. Taylor had been associating with guitarist Mike "Hollywood Fats" Mann and pianist Ronnie Barron and before long Taylor, Barron and Hollywood Fats were in the band. This version referred to by Hite and Mann as the "Burger Brothers" lineup, was soon joined by blind piano player Jay Spell, as Ronnie Barron walked out on the band after a blow-up between himself and Taylor.

The Burger Brothers played the tenth anniversary of Woodstock at Parr Meadows in 1979. A recording of the performance eventually surfaced through King Biscuit Flower Hour's Barry Ehrmann as, Canned Heat in Concert, in 1995 (de la Parra considers this to be Canned Heat's best recorded live album). Another recording made around this time was for Cream Records, who desired a more R&B-style sound than what Canned Heat was currently offering. This upset Hollywood Fats and Mike Halby was brought in to finish the project; which would not find commercial release until 1981 when former band member Tony de la Barreda put it out under RCA as a tribute album called, In Memory of Bob "The Bear" Hite 1943–1981—"Don't Forget To Boogie". After a falling out with de la Parra and Hite, Taylor and Mann were increasingly unhappy with the musical direction of the band and eventually left to focus more attention on their Hollywood Fats Band. Nevertheless, Jay Spell was still on board and brought in bass player Jon Lamb; Mike Halby was now a full-time member and long-time guitarist Vestine once again made his return to the band, with Hite and de la Parra as its leaders.

No longer managed by Howard Wolf, Eddie Haddad set the band up touring military bases across the U.S., Europe and Japan non-stop. Returning with little pay after the difficult tour, Jay Spell quit the band. Jon Lamb stayed on for one more tour in the south and just before Christmas 1980 (and lacking the outlaw roots of the others), he too quit the band; but by then even Hite was starting to lose it. He had attempted to give it another try by hiring a large enthusiastic biker with the moniker "The Push" as their manager; hoping that the band's popularity with the biker community would give them renewed energy. With new bass player Ernie Rodriguez joining the ranks, Canned Heat recorded the 1981 album, Kings of the Boogie, the last album to feature Hite on a few of the tracks.

On April 5, 1981, having collapsed from a heroin overdose during a show at the Palomino in Los Angeles, Bob Hite was later found dead in de la Parra's Mar Vista home at the age of 38.

Later history and the death of Vestine
The death of frontman Bob Hite was a devastating blow that most thought would end the career of Canned Heat; however, de la Parra kept the band alive and would lead it back to prosperity over the next few decades. An Australian tour had been set up before Hite's death and harmonica player Rick Kellogg had joined to finish off the Kings of the Boogie album. This incarnation of Canned Heat without Bob Hite was nicknamed the "Mouth Band" by Vestine and was a huge hit in Australia, especially with the biker crowd. Under the management of "The Push", the band toured the States playing biker bars and began work on a video known as "The Boogie Assault", starring Canned Heat and various members of the San Francisco chapter of the Hells Angels.

As production for "The Push's" video dragged on, a drunken Vestine got into a brawl with Ernie Rodriguez and was once again out of the band; this time replaced by guitarist Walter Trout. After a tour with John Mayall, as the production for "The Boogie Assault" continued, de la Parra was forced to fire "The Push" as the band's manager; but did eventually finish the video and a live album of the same name recorded in Australia in 1982 (also re-released as Live in Australia and Live in Oz). This version of Canned Heat would also soon dissolve with a dispute between Mike Halby and de la Parra after the recording of the Heat Brothers '84 EP.

During the 1980s the interest in the type of music played by Canned Heat was revived and, despite the past tragedies and permanent instability, the band appeared to be revitalized. In 1985, Trout had left to join John Mayall's Bluesbreakers, so Vestine was once again back in the band and he brought with him new musical talent from Oregon in James Thornbury (slide guitar, harmonica and lead vocals) and Skip Jones (bass). They were dubbed the "Nuts and Berries" band by de la Parra, due to their love of organic food. It was not long before former members Larry Taylor (replacing Jones) and Ronnie Barron returned to round out the group. Versions of this lineup would record the live album, Boogie Up The Country, in Kassel, Germany, in 1987 and also appear on the Blues Festival Live in Bonn '87 Vol 2 compilation. Barron, just as before did not last long in this lineup, nor did Vestine, who was once again ousted from the band due to pressure from Larry Taylor. Replacing Vestine on lead guitar was Junior Watson; his style emulated Hollywood Fats (who died in late 1986) and was perfectly suited for the band as witnessed by the well-regarded album Reheated. Unfortunately, the album was released only in Germany in 1988 due to disagreements with the Chameleon Music Group Record label. In 1990, the "Would-Be" lineup of James T, Taylor, Watson, and de la Parra also recorded a sequel live album in Australia entitled Burnin' Live.

The lineup dissolved in the early 1990s as Junior Watson went his own way and Mandel came back into the fold, bringing along Ron Shumake on bass to take some of the load off of Larry Taylor. Mandel, however, left the band after a few tours, so singer and guitarist Becky Barksdale was brought in for a tour of France, Germany, and Hawaii, but lasted no longer. Smokey Hormel was also considered but only played one gig before friction between de la Parra and Larry Taylor caused Taylor to bitterly go his separate way with Hormel in tow.

The revolving door that was Canned Heat continued as Vestine and Watson made their returns to the lineup as the "Heavy Artillery" band. Several former members including Mandel, Barron, and Taylor joined up in de la Parra's effort for the album Internal Combustion, which was released in 1994, but saw only limited release due to the returning manager Skip Taylor's falling out with Red River Records. In 1995, James Thornbury left the band with no hard feelings after ten years of service to live the married life in New South Wales, Australia, and new front-man Robert Lucas came in to take his place. Mandel returned and Shumake left the band in 1996, and after the position of bassist was taken temporarily by Mark "Pocket" Goldberg, Greg Kage took the reins as the bass player, and after a reconciliation with Larry Taylor the band released, Canned Heat Blues Band, in 1996. On October 20, 1997, a tired and cancer stricken Vestine died in Paris following the final gig of a European tour. Taylor and Watson subsequently left the band.

2000s–2020s
Canned Heat's popularity has endured in some European countries and Australia. Their studio albums during this period include Boogie 2000 (1999), and Friends in the Can (2003), which features various guests, including John Lee Hooker, Taj Mahal, Trout, Corey Stevens, Roy Rogers, Mandel, Larry Taylor, and Vestine. Eric Clapton and Dr. John made guest appearances on the Christmas Album (2007). In July 2007, a documentary, Boogie with Canned Heat: The Canned Heat Story, was released, as was a biography of Wilson, Blind Owl Blues, by author Rebecca Davis Winters.

By 2000, Robert Lucas had departed and the lineup was completed by Dallas Hodge (vocals, guitar), John Paulus (guitar) and Stanley "Baron" Behrens (harmonica, saxophone, flute). Lucas returned to Canned Heat in late 2005 but left again in the fall of 2008. He died, age 46, on November 23, 2008, at a friend's home in Long Beach, California; the cause was an apparent drug overdose. Other more recent deaths of band members included Hite's brother, bassist Richard Hite, who died at age 50 on September 22, 2001, due to complications from cancer. Also, former bassist Antonio de la Barreda died of a heart attack on February 17, 2009.

From late 2008 to the Spring of 2010 the lineup included Dale Spalding (guitar, harmonica and vocals), Barry Levenson (lead guitar), Greg Kage (bass), and classic lineup hold-over and band leader de la Parra on drums. Mandel and Larry Taylor toured with Canned Heat during the summer of 2009 on the Heroes of Woodstock Tour to celebrate the 40th anniversary of Woodstock. In 2010, Taylor and Mandel officially replaced Kage and Levenson, and as of 2012, this lineup (de la Parra, Taylor, Mandel, and Spalding) continued to tour regularly.

In October 2012, during a festival tour in Spain, France and Switzerland, Randy Resnick was called to replace Mandel who had to quit the tour due to health issues. Resnick played two dates, October 4 and 5, but had to return home for prior commitments. De la Parra was able to get Paulus to fly in from Portland to finish the tour. On September 7, 2013, Paulus once again substituted for Mandel at the Southern Maryland Blues Festival. In 2014, he officially replaced Mandel. On August 19, 2019, longtime bass guitarist Taylor died after a twelve-year battle with cancer. Drummer Frank Cook died on July 9, 2021, aged 79.

Style
AllMusic writer Joe Viglione wrote of the band, "With Bob Hite and Alan Wilson switching off on vocals, Canned Heat delivered as consistent a blues product as George Thorogood only with more diversity and subtle musical nuances keeping the listener involved". Classic Rock described the band as "the badass blues band that death couldn't kill" and "America's first great boogie-rock band". uDiscoverMusic described them as being among the elite country blues groups and as being "at the zenith of blues-rock", specializing in "psych trippy R&B" Lindsay Planer described the band's style as a blend of "amplified late-'60s electric rhythm and blues, with an expressed emphasis on loose and limber boogie-woogie". Goldmine described them as a "earthy, outlaw boogie-blues band". Initially known for soulful interpretations of blues standards, Canned Heat would become known for lengthy psychedelic jams by the end of the '60s. iLoveClassicRock wrote that "they were the first psychedelic band to gain popularity with their music catered to hipsters and any people who love to dance disco-style." Describing them as "one of America's greatest boogie bands", Rocks Off magazine said that "Canned Heat was one of the first real hippie bands to gain popularity" and were known "for their bluesy style mixed with psychedelic funk." SputnikMusic staff wrote that "Canned Heat used the old folk blues style played by legends such as John Lee Hooker as a platform, enriched it with driving boogie elements and served it with a psychedelic vibe." Adolfo "Fito" de la Parra, who joined the band in 1967, said in a 1991 interview, "Bob Hite and Alan Wilson started Canned Heat in 1966 as a jug band, just to have fun. Both of them were musicologists, record collectors, not musicians."

Current members

 * Adolfo "Fito" de la Parra – drums, vocals (1967–present)
 * Dale Wesley Spalding – guitar, harmonica, bass, vocals (2008–present)
 * Rick Reed – bass (2019–present)
 * Jimmy Vivino – guitar, keyboards, vocals (2019–present)

title: Canned Heat


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The Mask of Orpheus

The Mask of Orpheus is an opera with music by Harrison Birtwistle, electronic music realised by Barry Anderson and a libretto by Peter Zinovieff. It was premiered in London at the English National Opera on 21 May 1986 to great critical acclaim. A recorded version conducted by Andrew Davis and Martyn Brabbins has also received good reviews. A new production of the opera was staged at the English National Opera in 2019, conducted by Martyn Brabbins and James Henshaw. The work is around three hours long.

Synopsis
The structure of the opera's plot is complex. Rather than telling a story by starting at A and going through B to C, The Mask of Orpheus explores the Orpheus myth in a number of directions at once, examining the various contradictions which are in the various versions of the myth.

This is done by a very elaborate stage design, whereby the stage is divided into a number of different areas, each containing its own part of the action. In addition, each of the major characters – Orpheus, Eurydice and Aristaeus – appear in three forms: as a singer who represents their human forms; as a mime, representing their heroic selves; and as a puppet, representing their myths. Also, individual events may occur within the opera on several occasions, as they are being predicted, as they happen, and as they are being remembered.

An example of this process in action is the seduction of Eurydice by Aristaeus. When first seen in act 1, this event is shown simultaneously in two different versions: in one, Eurydice is raped by Aristaeus before dying; in the other she is not. Later, in act 2, Orpheus remembers this event, but now it is Orpheus, not Aristaeus, who is seducing Eurydice before her death.

Because of the complex structure of the work, it is difficult to provide a detailed synopsis. However, the opera's story might be broadly said to be as follows:

Act 1
Orpheus and Eurydice fall in love and marry. Eurydice later dies from a snake bite, and Orpheus consults the Oracle of the Dead, intending to follow her to the Underworld.

Act 2
Orpheus journeys to the Underworld through seventeen arches, each with a symbolic name. On his journey back, he believes Eurydice is following him, but it is actually Persephone and the mime Eurydice. Orpheus goes back for Eurydice but realises she cannot follow him. Orpheus hangs himself. The act ends with Orpheus waking up, realising that his journey to the Underworld was a dream.

The Seventeen Arches

Each of the arches that Orpheus must travel through is given a symbolic name.

 * 1st arch – The Arch of Countryside
 * 2nd arch – The Arch of Crowds
 * 3rd arch – The Arch of Evening
 * 4th arch – The Arch of Contrast
 * 5th arch – The Arch of Dying
 * 6th arch – The Arch of Wings
 * 7th arch – The Arch of Colors
 * 8th arch – The Arch for Secrecy
 * 9th arch – The Arch of Glass
 * 10th arch – The Arch of Building
 * 11th arch – The Arch of Weather
 * 12th arch – The Arch of Eyes
 * 13th arch – The Arch of Knives
 * 14th arch – The Arch of Animals
 * 15th arch – The Arch of Robes (or Roads)
 * 16th arch – The Arch of Blood
 * 17th arch – The Arch of Fear

Act 3
At the start of this act, time is moving backwards: Orpheus travels back out of and into the Underworld, and Eurydice dies once more. Then time moves forwards as Orpheus leaves the Underworld again. One version of the Orpheus story is that he is then killed by a thunderbolt thrown by Zeus, while another is that he is dismembered by the women of Dionysus. Orpheus then becomes the subject of a cult and an oracle. Time flows backwards once more, and Orpheus' death is acted out again, and the opera ends with the Orpheus myth decaying.

The electronic music
The Mask of Orpheus, in addition to vocal and orchestral music, contains a significant amount of electronic music, which was realised on behalf of Birtwistle by Barry Anderson. Anderson's premature death in 1987, as well as a paucity of extant sketch material, has made an objective assessment of the collaboration unclear. The issue has been raised of whether Birtwistle has acknowledged the true extent of his collaboration with Anderson as a fellow composer. Anderson mapped out the electronic music in detail at the IRCAM studios in Paris between 1981 and 1984.

Each act has its own electronic "aura", which goes on continuously, sometimes prominently, sometimes inaudibly; the voice of Apollo is heard on several occasions as an electronic sound "speaking" in an invented language. There are also six purely electronic interludes created by computer manipulation of harp sounds.

The staging
Jocelyn Herbert was commissioned to design the sets and costumes for the opera's premiere. The staging was complex, involving suns, rivers, and a flying golden carriage. Each singer wore (and sang through) a mask. Large puppets were created to change proportion on stage. All the masks and costumes were designed to appear timeless, so as to avoid placing the opera in a specific era.

Instrumentation

 * Woodwinds:
 * 4 flutes (1st, 2nd, and 3rd doubling piccolo; 2nd, 3rd, and 4th doubling alto flute; 4th doubling bass flute)
 * 3 oboes (1st doubling oboe d'amore; 2nd and 3rd doubling English horn)
 * bass oboe (doubling English horn)
 * 3 clarinets (1st and 2nd doubling E-flat clarinet; 2nd and 3rd doubling bass clarinet)
 * bass clarinet (doubling contrabass clarinet)
 * 3 bassoons (2nd and 3rd doubling contrabassoon)
 * contrabassoon
 * 3 soprano saxophones
 * Brass
 * 4 French horns
 * 4 trumpets
 * 6 trombones
 * 2 tubas
 * Other
 * 7 percussionists
 * 3 harps
 * electric guitar
 * bass guitar
 * electric mandolin
 * tape
 * 16-part mixed choir

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: The Mask of Orpheus


text: Talk:Burns and Allen

title: Talk:Burns and Allen


text:
The Electric Prunes

The Electric Prunes are an American psychedelic rock band, formed in Los Angeles, California, in 1965. Much of the band's music was, as music historian Richie Unterberger described it, possessed of "an eerie and sometimes anguished ambiance." Their most successful material was by songwriters Annette Tucker and Nancie Mantz, though the group also penned their own songs. Incorporating psychedelia and elements of embryonic electronic rock, the band's sound was marked by innovative recording techniques with fuzz-toned guitars and oscillating sound effects. In addition, guitarist Ken Williams' and singer James Lowe's concept of "free-form garage music" provided the band with a richer sonic palette and exploratory lyrical structure than many of their contemporaries.

The band was signed to Reprise Records in 1966 and released their first single, "Ain't It Hard", in the latter part of the year. Their first album, The Electric Prunes, included the band's two nationally charting songs, "I Had Too Much to Dream (Last Night)" and "Get Me to the World on Time". With the appearance of their second album, Underground, the band was more free to create their own material. However, the original group disbanded by 1968 when they proved unable to record the innovative and complex arrangements by David Axelrod on the albums Mass in F Minor and Release of an Oath. Both albums were released under the band's name, the rights to which were owned by their record producer David Hassinger, but were largely performed by other musicians. Several of the original band members reconvened in 1999 and began recording again. The band still performs occasionally, although the only remaining original member is lead singer James Lowe.

Origin
The band originated from a surf rock-influenced garage rock group, the Sanctions, in 1965. The Sanctions, which included James Lowe (vocals, guitar), Mark Tulin (bass guitar), Ken Williams (lead guitar), and Michael "Quint" Weakley (drums), recorded 12 cover songs on an acetate disc on March 27, 1965, in a home studio owned by Russ Bottomley. For their next set of recordings on September 29, 1965, the group, then known as Jim and the Lords, was joined by keyboardist Dick Hargrave, who left shortly afterwards to pursue a career in graphic arts. The songs went unreleased until Heartbeat Productions distributed the 2000 album, Then Came The Electric Prunes, which was commended for its good sound quality, considering the circumstances in which it was recorded. Back to a quartet, the band, while rehearsing in a garage, met a real estate agent named Barbara Harris. Harris had connections in the music industry, and introduced the group to Dave Hassinger to record demos at Sky Hill Studios. Hassinger, who had been working as the resident sound engineer at RCA Studios and recently completed development for The Rolling Stones' album, Aftermath, expressed a desire to produce a record. He suggested to the group that they change their name, and they considered a list of alternatives. According to Lowe, the name Electric Prunes started off as a joke, but he eventually convinced other band members, saying, "It's the one thing everyone will remember. It's not attractive, and there's nothing sexy about it, but people won't forget it." As a result of the recordings, a single, featuring a cover of the Gypsy Trips' folk rock tune, "Ain't It Hard", and the Lowe-penned song, "Little Olive", was released in early 1966, but failed to chart.

Early success
Despite the commercial failure of "Ain't It Hard", Reprise Records was encouraged by the group's effort, and signed the band to a recording contract that left them under Hassinger's authority. Weakley departed the band after the single, and was replaced by Preston Ritter, and rhythm guitarist James "Weasel" Spagnola was recruited to make The Electric Prunes a quintet. Although the band was composing their own material, Hassinger called upon songwriters Annette Tucker and Nancie Mantz to write the majority of the group's songs. The new line-up recorded six demos at American Recording Studio and Leon Russell's Skyhill Studios studio. These mainly comprised cover songs and Tucker-Mantz compositions. According to Lowe, while at Russell's recording studio, "Dave cued up a tape and didn't hit 'record,' and the playback in the studio was way up: ear-shattering vibrating jet guitar. Ken had been shaking his Bigsby wiggle stick with some fuzztone and tremolo at the end of the tape. Forward it was cool. Backward it was amazing. I ran into the control room and said, 'What was that?' They didn't have the monitors on so they hadn't heard it. I made Dave cut it off and save it for later." The fluttering buzz sound was utilized for the opening to the Tucker-Mantz song, "I Had Too Much to Dream (Last Night)", which also included a heavily textured psychedelic guitar motif. The song was chosen to be released as The Electric Prunes' second single in November 1966. It peaked at number 11 on the Billboard Hot 100 and reached number 49 on the UK Singles Chart. The success of the single prompted immediate touring, and earned the group a promotional contract with musical equipment makers Vox. Williams recorded an advert, demonstrating the use of Vox's wah-wah pedal in early 1967, and the band was featured in magazines such as Vox Teen Beat.

The band's follow-up single, "Get Me to the World on Time", which put distorted sound effects to a psychedelic-tinged Bo Diddley beat, was released in May 1967. The song managed to chart at number 27 in the US and number 42 in the UK, and was the most electronically experimental composition by the group thus far. When it came time for The Electric Prunes to record songs for their first album, they were limited musically due to the predominant presence of Tucker and Mantz's (also Jill Jones) songwriting partnership, which composed the majority of the album's material. The group's debut album, The Electric Prunes possessed exotically combined effects, and violin-like guitar riffs, mixed with a diverse, and somewhat uneven, selection of pop songs, with only "Train For Tomorrow" and "Luvin'" being penned by the band. Tracks such as the soft rock tune, "Onie" and "Toonerville Trolley" suggest inconsistency in an attempt to produce a commercially viable sound. Reflecting on the album, Tulin said, "Consequently there are definitely songs that I believe do not belong on the album and were, in fact, a waste of our time and energy. There were several other ideas we were working on, but [we] realized there was no use pursuing them because they too would have been 'too weird.'"

In July 1967, the band released their fourth single, one of the more unusual compositions to come from the pen of the Tucker-Mantz songwriting duo, "Dr. Do-Good". The song, which featured Williams playing a prototype steel guitar, and childlike to maddening vocals, was described by music historian Richie Unterberger as "sounding more like a horror movie theme run amok than a radio-ready hit", and consequently the single bubbled under the Hot 100 at number 128. The Electric Prunes reconvened at American Recording Studios to record their second album, Underground, though Hassinger was not as involved in the band's activities, which allowed much more creative freedom to the group to write their own material. For the album, the band wrote seven of the twelve tracks, and expanded upon the experimentation of the first album, with inventive guitar reverb and oscillation, in a unified effort. However, in the middle of the recording sessions the line-up went through changes when Ritter departed for musical differences, and was replaced by original drummer Weakley, who appeared on five tracks. Spagnola left near the conclusion of recording to address medical concerns, and Mike Gannon was recruited to finish the album. Gannon was included on just two songs as well as the non-album track, "Everybody Knows You're Not In Love". In August 1967, Underground was released, but, without a hit-ready single, did not fare as well on the Billboard 200, where it peaked at number 172. After a U.S. tour in the latter half of 1967, the new line-up embarked on a European tour and this led to appearances at high-profile venues such as The Roundhouse, The Speakeasy Club and Middle Earth. On the final leg of the tour, The Electric Prunes' performance was recorded in Stockholm by the Swedish Broadcasting Corporation. The recordings were issued in 1997 on the live album, Stockholm '67.

The Axelrod period
At the suggestion of manager Lenny Poncher and Hassinger, The Electric Prunes agreed to record a concept album that integrated Gregorian music into psychedelic pop, with the belief it would launch them into commercial success. Poncher recruited David Axelrod, a formally classically trained musician, to compose all of the material for the project. The result, Mass in F Minor, was a complex arrangement of religious-based rock, which was sung entirely in Greek and Latin. Although the band did record the songs "Kyrie Eleison", "Gloria", and "Credo", the intricate orchestration proved to be too difficult and time-consuming for the group. As a consequence, Hassinger enlisted the Canadian group The Collectors, among other session musicians, in completing the album, although Lowe, Tulin, and Weakley did contribute to every track. Mass in F Minor was released in January 1968 and reached number 135 on the Billboard 200. An eerie version of the opening track, "Kyrie Eleison", became somewhat of an underground favorite when it appeared in the soundtrack for the counterculture film, Easy Rider. The Electric Prunes performed with the new songs in concert just once, at the Santa Monica Civic Auditorium, which Tulin described: "From the outset the performance was a disaster. We missed the intro on the first song and it never got any better. Amp speakers blew, charts fell off music stands and everyone was, in general, in a complete state of confusion. Ended up each song turned into one long jam. I think we were, at times, all in the same key. I made my way over to the four celli and four French horns and told them to 'jam in E.' Somehow we would hit a break and James would manage a vocal". As a result of financial and musical issues, Weakley and Lowe left the group in early 1968. Tulin and Williams finished a tour with a line-up that also included Kenny Loggins and Jeremy Stuart, but by mid-1968 they too departed the group.

Nonetheless, Hassinger still owned the rights to The Electric Prunes's name, and was encouraged by the success of Mass in F Minor, which prompted him to assemble a new line-up. He was steered toward the Colorado group, Climax, by Rich Fifield. Fifield had worked in fellow Colorado band, Hardwater (previously the surf rock band The Astronauts), which was managed by Poncher, and produced an album with Axelrod. The new Electric Prunes line-up included Climax members Richard Whetstone (vocals, guitar), John Herron (organ), and Mark Kincaid (guitar) with Brett Wade (bass guitar), who was recommended by The Collectors. With the group restructured, Axelrod, again, composed all the material for their next album, in the same vein as the previous effort, and centered it around the Jewish prayer, Kol Nidre. The album, titled Release of an Oath, utilized several session musicians including Howard Roberts, Carol Kaye, and Earl Palmer, and saw Whetstone as the only band member to contribute to the recordings. Although the album was considered more cohesive and progressive than its predecessor, it failed to chart upon its release in November 1968. Afterwards, Axelrod returned to his past position at Capitol Records, and The Electric Prunes toured as a supporting act for bands such as Steppenwolf, Canned Heat, and New Buffalo Springfield.

The "New Improved" Electric Prunes
The band's final album, Just Good Old Rock and Roll, was released in June 1969 with the cover describing the group as The "New Improved" Electric Prunes. Herron left the group before they completed recording of the album, although he was still credited as the keyboardist. He was replaced by Ron Morgan, who had been the guitarist of Three Dog Night, and an essential session musician for the first three albums released by The West Coast Pop Art Experimental Band. With the exception of "Finders Keepers, Losers Weepers", which was co-written by Jimmy Holiday, all the songs on Just Good Old Rock and Roll were composed solely by the band. In addition, Wade composed "Flowing Smoothly", the B-side to the non-album single, "Hey, Mr. President".

Just Good Old Rock and Roll is much more straightforward than past works, consisting of funk-influenced hard rock, although "So Many People to Tell" and "Silver Passion Mine" also exhibit a late-psychedelic sound. As Whetstone explains, "We were fairly naive in terms of guidance; we had none, so we were experimenting with a lot of musical styles. If you listen to the album, you'll hear a lot of diversity, feel and tempo changes...That was our learning curve." In early 1970, Whetstone and Wade departed the band and moved to Canada where they formed Stallion Thumbrock. Morgan and Kincaid constructed another line-up of The Electric Prunes that included Michael Kearns, Clay Groomer, Huey Plumeigh, and Galen Pugh; however, by mid-1970 the band dissolved.

Revival and reformation
Although the band broke up in 1970, their material continued to be circulated through reissues and compilation albums. Following the inclusion of "I Had Too Much to Dream (Last Night)" as the first track on the seminal Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968 in 1972, a slow return of interest in the band's music began. In Europe, the band's albums were re-released, with 1986 seeing the reissue of Underground, Release of an Oath, and, essentially The Electric Prunes's first greatest hits album, Long Days Flight. This was the first album to include their first single, "Ain't It Hard", the non-LP track "You Never Had It Better", and the first to be released on the compact disc format in 1989.

By 1997, all of the group's albums were available via compact disc. Following the release of the 1997 live album, Stockholm '67, on Heartbeat Records, the original line-up of Tulin, Lowe, Williams, and Weakley (now known as Fortune) reconvened, in 1999, to record new material for the first time in 31 years. After the success of the 2001 compilation album, Lost Dreams, the band began to perform live again along with new members.

On October 31, 2001, the band released the album, Artifact, which included several guest musicians, most notably former Moby Grape guitarist, Peter Lewis. Deemed the "one we never got to make", the album was a cohesive take on the band's psychedelic sound. In August 2002, the group toured Europe for the first time since 1968, with concerts in the UK and Greece and, in 2003, a DVD looking into the UK portion of their European tour, called Rewired, was released. Additional albums were released over the years, including the concept album, California, in 2004, and their most experimental album since The Electric Prunes's reformation, Feedback, in 2006.

On February 26, 2011, Tulin died aged 62 from a heart attack while volunteering at the University of Southern California Catalina Hyperbaric Chamber. After Tulin's death, the band went on hiatus, but returned to touring in 2013. On May 22, 2014, the band released WaS, which featured new material inspired by the group's tour in Tokyo, Japan. The album includes the last recordings with Tulin, and the two live tracks, "Smokestack Lightning" and "Bullet Thru the Backseat". Preston Ritter died in 2015, aged 65.

Current members

 * James Lowe – lead vocals, harmonica, percussion, theremin, guitar, autoharp (1965–1968, 1999–present)
 * Steve Kara – lead guitar, backing vocals (2003–present)
 * Jay Dean – rhythm guitar, backing vocals (2004–present)
 * Walter Garces – drums (2006–present)
 * Rocco Guarino– bass, backing vocals (2013–present)

Former members

 * Mark Tulin (1965–1968, 1999–2011; died 2011) - bass, keyboards
 * Ken Williams (1965–1968, 1999–2003, 2006) - lead guitar
 * Michael "Quint" Weakley (1965–1966, 1967, 2001) - drums, percussion
 * Steve Acoff (1965)
 * Dick Hargraves (1965) - keyboards
 * Preston Ritter (1966–1967; died 2015) - drums, percussion
 * James "Weasel" Spagnola (1966–1967; died c.2000) - rhythm guitar, backing and lead vocals
 * Joe Dooley (1967–1968, 2001–2005) - drums
 * Mike Gannon (1967–1968; died 1972) - rhythm guitar
 * John Herron (1968–1970; died 2003) - keyboards
 * Mark Kincaid (1968–1970; died c.1994) - guitar, backing vocals
 * Brett Wade (1968–1970) - bass, backing vocals, flute
 * Dick Whetstone (1968–1970) - drums, lead vocals, guitar
 * Kenny Loggins (1968)
 * Jeromy Stuart (1968)
 * Ron Morgan (1969–1970; died 1989) - guitar
 * Cameron Lowe (2001–2003) - keyboards
 * Mark Moulin (2001–2003) - lead guitar
 * Glen Bostic (2007)

Studio albums

 * The Electric Prunes (1967)
 * Underground (1967)
 * Mass in F Minor (Composed by David Axelrod) (1968)
 * Release of an Oath (Composed by David Axelrod) (1968)
 * Just Good Old Rock and Roll (1969)
 * Artifact (2001)
 * California (2004)
 * Feedback (2006)
 * WaS (2014)

Live albums

 * Stockholm '67 (Heartbeat BMRO39), 1997
 * Return to Stockholm Live at Debaser 2004 (PruneTwang 8-69691-13), 2012

U.S. singles

 * "Ain't It Hard" / "Little Olive" (Reprise 0473), 1966
 * "I Had Too Much to Dream (Last Night)" / "Luvin" (Reprise 0532) 1966 (US #11, UK #49)
 * "Get Me to the World on Time" / "Are You Lovin' Me More (But Enjoying it Less)" (Reprise 0564), 1966, (US #27, UK #42)
 * "Vox Wah-Wah Ad" (Thomas 08-000132-0), 1967
 * "Dr. Do-Good" / "Hideaway" (Reprise 0594), 1967 (US #128)
 * "The Great Banana Hoax" / "Wind-up Toys" (Reprise 0607), 1967
 * "Everybody Knows You're Not in Love" / "You Never Had it Better" (Reprise 0652), 1968
 * "I Had Too Much to Dream (Last Night)" / "Get Me to the World on Time" (Reprise 0704 – Double A-side), 1968
 * "Shadows" (Reprise PRO 287), 1968, one-sided single
 * "Sanctus" / "Credo" (Reprise PRO 277), 1968
 * "Help Us (Our Father, Our King)" / "The Adoration" (Reprise PRO 305), 1968
 * "Hey! Mr. President" / "Flowing Smoothly" (Reprise 0756), 1969
 * "Sell" / "Violent Rose" (Reprise 0833), 1969
 * "Love Grows" / "Finders, Keepers, Losers, Weepers" (Reprise 0858), 1969
 * "Hollywood Halloween" (Birdman Records BMR1313), 2001, Peter Lewis (Moby Grape) backed by The Electric Prunes)
 * "Get Me to the World on Time" (Live) (Birdman Records BMR037), 2002 (recorded at Voxfest III in June 2001)
 * "Left in Blue" (original by Azure Halo)

European singles

 * "I Had Too Much to Dream (Last Night)" / "Luvin" (Reprise RS 20532), 1966, UK
 * "Get Me to the World on Time" / "Are You Lovin Me More (But Enjoying It Less)" (Reprise RS 20564), 1967, UK
 * "The Great Banana Hoax" / "Wind-Up Toys" (Reprise RS 20607), 1967, UK
 * "Long Days Flight" / "The King In His Counting House" (Reprise RS 23212), 1967, UK
 * "I Had Too Much To Dream (Last Night)" / "Luvin'" / "Little Olive" / "Ain't It Hard" (Reprise RVEP 60098), 1967, France
 * "Everybody Knows You're Not In Love" / "You Never Had It Better" (Reprise RS 20652), 1968, UK
 * "Long Day's Flight" / "Dr. Do-Good" / "The Great Banana Hoax" / "Captain Glory" (Reprise RVEP 60110), 1968, France
 * "Everybody Knows You're Not In Love" / "You Never Had It Better" (Reprise RV 20149), 1968, France
 * "Hey Mr President" / "Flowing Smoothly" (Reprise RV 20198), 1969, France
 * "I Had Too Much To Dream (Last Night)" / ("Lies" by the Knickerbockers) (Elektra K 12102), 1973 (from the Nuggets compilation), UK
 * "I Had Too Much To Dream (Last Night)" / "Luvin" (Radar ADA 16 – picture sleeve reissue), 1979, UK

Compilation albums

 * Long Day's Flight (Edsel Records / Demon Records), 1986, UK
 * The Singles (Gone Beat), 1995, Israel
 * Lost Dreams (Birdman Records / Heartbeat Records), 2000, US
 * The Sanctions / Jim and the Lords - Then Came the Electric Prunes (Heartbeat Productions), 2000, UK (pre-Electric Prunes recordings)
 * Too Much To Dream - Original Group Recordings: Reprise 1966-1967 (Rhino Records / Reprise Records), 2007, UK & Europe
 * The Original Albums Series, 5-CD box set, released 2012

Various

 * Easy Rider, 1969 (includes "Kyrie Eleison")
 * Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968 (includes "I Had Too Much To Dream (Last Night)"), 1972 Elektra, reissued 1976 Sire, reissued 1998 as a four-CD box set by Rhino, also includes "Get Me to the World on Time").
 * Pebbles, Volume 2, 1979 (includes "Vox Wah-Wah Radio Ad"), BFD Records, reissued 1992 on CD by AIP Records
 * Rarities, 1981 (4 songs from a 1967 concert in Stockholm plus the Vox ad, split with Count Five), Great Live Concerts label

DVDs

 * Rewired (Snapper Music), 2002, UK

title: The Electric Prunes


text:
Mittelschmerz

Mittelschmerz is a term for pain due to ovulation. It occurs mid-cycle (between days 7 and 24) and can last minutes to up to several days. The pain affects one side of the lower abdomen and may be dull or sharp in nature. Other symptoms may include spotting. Often it occurs monthly and may alternate sides.

The underlying mechanism is unclear but may involve irritation due to release of blood and fluid from the follicle or high blood levels of luteinizing hormone causing contraction of smooth muscle. Diagnosis involves ruling out other potential causes such as appendicitis, endometriosis, ovarian cysts, ectopic pregnancy, and sexually transmitted infections.

Treatment may involve acetaminophen or ibuprofen. Birth control pills may be used for prevention. It is not serious; though may reoccur. Mittelschmerz affects about 20 to 40% of women. The term is from the German for "middle pain". Its presence has been used to manage fertility.

Signs and symptoms
Mittelschmerz is characterized by lower abdominal and pelvic pain that occurs roughly midway through a woman's menstrual cycle. The pain can appear suddenly and usually subsides within hours, although it may sometimes last two or three days. In some cases it can last up to the following cycle. In some women, the mittelschmerz is localized enough so that they can tell which of their two ovaries provided the egg in a given month. Because ovulation occurs on a random ovary each cycle, the pain may switch sides or stay on the same side from one cycle to another.

Other ovulation symptoms
Women may notice other physical symptoms associated with their mittelschmerz, during or near ovulation. The most common sign is the appearance of fertile cervical mucus in the days leading up to ovulation. Cervical mucus is one of the primary signs used by various fertility awareness methods. Other symptoms are sometimes called secondary fertility signs to distinguish from the three primary signs.

 * Mid-cycle or ovulatory bleeding is thought to result from the sudden drop in estrogen that occurs just before ovulation. This drop in hormones can trigger withdrawal bleeding in the same way that switching from active to placebo birth control pills does.  The rise in hormones that occurs after ovulation prevents such mid-cycle spotting from becoming as heavy or long lasting as a typical menstruation.  Spotting is more common in longer cycles.
 * A woman's vulva may swell just prior to ovulation, especially the side on which ovulation will occur.
 * One of the groin lymph nodes (on the side on which ovulation will occur) will swell to about the size of a pea, and may become tender.

Causes
Mittelschmerz is believed to have a variety of causes:

 * Follicular swelling: The swelling of follicles in the ovaries prior to ovulation. While only one or two eggs mature to the point of being released, a number of follicles grow during the follicular phase of the menstrual cycle (non-dominant follicles atrophy prior to ovulation).  Because follicles develop on both sides, this theory explains mittelschmerz that occurs simultaneously on both sides of the abdomen.

 * Ovarian wall rupture: The ovaries have no openings; at ovulation the egg breaks through the ovary's wall. This may make ovulation itself painful for some women.
 * Fallopian tube contraction: After ovulation, the fallopian tubes contract (similar to peristalsis of the esophagus), which may cause pain in some women.
 * Smooth muscle cell contraction: At ovulation, this pain may be related to smooth muscle cell contraction in the ovary as well as in its ligaments. These contractions occur in response to an increased level of prostaglandin F2-alpha, itself mediated by the surge of luteinizing hormone (LH).

 * Irritation: At the time of ovulation, blood or other fluid is released from the ruptured egg follicle. This fluid may cause irritation of the abdominal lining.

Diagnosis
Diagnosis of mittelschmerz is generally made if a woman is mid-cycle and a pelvic examination shows no abnormalities. If the pain is prolonged and/or severe, other diagnostic procedures such as an abdominal ultrasound may be performed to rule out other causes of abdominal pain.

The pain of mittelschmerz is sometimes mistaken for appendicitis and is one of the differential diagnoses for appendicitis in women of child-bearing age.

Treatment
The pain is not harmful and does not signify the presence of disease. No treatment is usually necessary. Pain relievers (analgesics) such as NSAIDS (Non-steroidal anti inflammatories) may be needed in cases of prolonged or intense pain.

Hormonal forms of contraception can be taken to prevent ovulation —and therefore ovulatory pain—but otherwise there is no known prevention.

Usefulness
Women charting with some form of fertility awareness may find mittelschmerz to be a helpful secondary sign in detecting ovulation. Because normal sperm life is up to five days, however, mittelschmerz alone does not provide sufficient advance warning to avoid pregnancy. Because other causes of minor abdominal pain are common, mittelschmerz alone also cannot be used to confirm the beginning of the post-ovulatory infertile period.

title: Mittelschmerz


text:
Henri Laurens

Henri Laurens (February 18, 1885 – May 5, 1954) was a French sculptor and illustrator.

Early life and education
Born in Paris, Henri Laurens worked as a stonemason before he became a sculptor. From 1899 to 1902, he attended drawing classes at the École d'Art Industriel, during which he produced works that were greatly influenced by the popularity of Auguste Rodin.

Career
Later Laurens was drawn to a new gathering of artistic creativity in Montparnasse. From 1915, he began to sculpt in the Cubist style after meeting Pablo Picasso, Georges Braque, Juan Gris and Fernand Léger.

Laurens was exempted from call-up for the First World War, after having a leg amputated in 1909 due to osteo-tuberculosis.

Multi-talented, Laurens worked with poster paint, and collage. He was an engraver, and created theatre design and decoration. In 1915, he illustrated a book for his friend, the author Pierre Reverdy.

In 1937, he was awarded the Helena Rubinstein Prize, which brought him in additional commissions. In 1938, he shared an exhibition with Braque and Picasso that travelled to major Scandinavian cities. In 1947, he made prints for book illustrations. In 1948, he exhibited his art at the important international Venice Biennale. That same year, he exhibited at the Galerie d'Art Moderne in Basel, Switzerland.

Many of his sculptures are massive objects. An example of this style is the monumental piece L'Amphion, which he first designed on a smaller scale before created the final version in 1952 for the Central University of Venezuela, Caracas, after a request from the architect Carlos Raúl Villanueva.

Laurens' sculptural work influenced the work of architect Jørn Utzon, famous for the Sydney Opera House, in particular Laurens' tomb for an aviator designed for the cemetery of Montparnasse, Paris, in 1924.

Death
Henri Laurens died in Paris, after collapsing while out on an evening walk, and was interred in the Cimetière du Montparnasse there. His tomb is decorated with his sculpture, La Douleur.

title: Henri Laurens


text:
The Fabulous Thunderbirds

The Fabulous Thunderbirds is an American blues band formed in 1974. Singer Kim Wilson is the only constant member through the band's entire history. Their 1986 album Tuff Enuff sold over a million copies, and spawned two minor hit singles: the title track and "Wrap It Up".

Career
After performing for several years in the Austin, Texas, blues scene, the band won a recording contract with Takoma/Chrysalis Records and later signed with Epic Records. In 2011, they signed with Severn Records.

Their first two albums were released in 1979 and 1980, with Kim Wilson's lead vocals and harmonica, Jimmie Vaughan as lead guitarist, and Keith Ferguson on bass guitar. Mike Buck was on drums for the first album but left the band and was replaced by Fran Christina on the second. Both albums initially sold through the small number printed (about 3000 units) and are now regarded as significant blues recordings. The Thunderbirds' blues style mixed Texas blues with the harmonica-laced swamp blues sounds of Slim Harpo and Lazy Lester—both of whom the Thunderbirds covered. The band's third album, Butt-Rockin', released in 1981, took the band closer to old rhythm and blues and added additional musicians playing piano and brass.

Although the Fabulous Thunderbirds had become favorites of fellow musicians—opening shows for the likes of the Rolling Stones and Eric Clapton—and had been critically well-received, the band's records did not sell well. Chrysalis dropped the band following the release of T-Bird Rhythm, leaving the band without a contract for four years. While still in limbo, the Fabulous Thunderbirds continued to play concerts across the US. During this time, bassist Keith Ferguson left the band and was replaced by Preston Hubbard, a former member of Roomful of Blues. Also during this time, the band was featured on the 1983 Carlos Santana album Havana Moon. In 1985, the band landed another recording contract with Epic/Associated.

The single "Tuff Enuff" was featured in the 1986 film Gung Ho. It was also featured in the film Tough Guys, as was the follow-up single, "Wrap It Up", which went to number 50 on the Billboard Hot 100 chart. "Tuff Enuff" remains the band's only Top 40 hit, peaking at number 10 on the Billboard Hot 100. The album Tuff Enuff went gold in several countries and was subsequently certified platinum in the United States, with sales of over one million. The band's music was also used in the 1987 movie Hot Pursuit. The Vaughan–Wilson composition "Twist It Off" appears in the 1987 Michael J. Fox and Joan Jett film Light of Day and on the issued soundtrack. The band also appears in the film performing the song live. The Fabulous Thunderbirds' next album, Hot Number, fell off the charts quickly. But following that, their recording of "Powerful Stuff" was a success, based in part on its inclusion in the 1988 film Cocktail.

Jimmie Vaughan left the band in 1990 to record an album with his brother Stevie Ray Vaughan, Family Style. Following Stevie Ray's death in 1990, Jimmie pursued a full-time solo career. The band then embarked on a long series of lineup changes and albums throughout the 1990s. The Fabulous Thunderbirds replaced Vaughan with two guitarists, Duke Robillard and Kid Bangham. Long-time drummer Fran Christina left in 1996 and went on to join with Marcia Ball and later Doug Sahm's Last Real Texas Blues Band. Doug "Kid" Bangham left the band after three years to pursue a solo career and open the Carver School of Music and the Carver Institute of Rock in Carver, Massachusetts.

In the early 1990s, Kim Wilson recorded a pair of solo albums while continuing to tour with the Fabulous Thunderbirds. In 1994, the band recorded its ninth album, Roll of the Dice, which was released on Private Music in 1995. High Water followed in 1997, although this was actually a collaboration between Wilson and studio musicians Steve Jordan and Danny Kortchmar issued under the Fabulous Thunderbirds name.

Former bassist Keith Ferguson died of liver failure on April 29, 1997, at the age of 50.

On the evening of February 16, 2000, the Fabulous Thunderbirds were the first band ever to be broadcast on the Internet using high-definition cameras. The companion DVD, Invitation Only, is one of the first high-resolution multi-track recordings of a live concert event. The companion CD Live! was released in 2001.

The band recorded Painted On in 2005, produced by Steve Berlin (of Los Lobos) and featuring Rachel Nagy of the Detroit Cobras on the track "Love Speaks Louder Than Words". Guitarist Nick Curran joined Wilson on vocals for "Two Time Fool".

In 2016, Kim Wilson announced that the Fabulous Thunderbirds lineup for 2016 will be Steve Gomes on bass, Kevin Anker on keyboards, Wes Watkins on drums, with holdover Johnny Moeller on guitar. This lineup plus drummer Rob Stupka recorded the album Strong Like That released in August 2016.

Former bassist Preston Hubbard (born on March 15, 1953, in Providence, Rhode Island) was found dead at his home in St. Louis, Missouri, on August 17, 2016, at the age of 63. Former keyboardist Gene Taylor died on February 20, 2021.

Lineups

 * Timeline

Discography
Albums
 * The Fabulous Thunderbirds (1979)
 * What's the Word (1980)
 * Butt Rockin' (1981)
 * T-Bird Rhythm (1982)
 * Tuff Enuff (1986)
 * Hot Number (1987)
 * Powerful Stuff (1989)
 * Walk That Walk, Talk That Talk (1991)
 * Roll of the Dice (1995)
 * High Water (1997)
 * Painted On (2005)
 * Thunderbirds! (2009, sold only at shows)
 * On the Verge (2013)
 * Strong Like That (2016)
 * Struck Down (2024)

Compilation albums
 * Portfolio (1987)
 * The Essential... (1991)
 * Hot Stuff: The Greatest Hits (1992)
 * Wrap It Up (1993)
 * The Fabulous Thunderbirds/What's the Word (1993)
 * Butt Rockin'/T-Bird Rhythm (1993)
 * Different Tacos (1996)
 * The Best of the Fabulous Thunderbirds (1997)
 * Tuff Enuff/Powerful Stuff (1999)
 * Thunderbirds Tacos Deluxe (2003)
 * The Best of the Fabulous Thunderbirds: Early Birds Special (2011)
 * The Bad and Best of... (2013)

Live albums
 * Live from London (1985)
 * Live [AKA Invitation Only] (2001)

Singles
 * "Tuff Enuff" (1986) No. 10 US, No. 83 AUS
 * "Wrap It Up" (1986) No. 50 US
 * "Why Get Up" (1986)
 * "Stand Back" (1987) No. 76 US
 * "How Do You Spell Love" (1987)
 * "Wasted Tears" (1988)
 * "Powerful Stuff" (1988) No. 65 US
 * "Knock Yourself Out" (1989)

Music videos

 * "One's Too Many" (1981)
 * "I Believe I'm In Love With You" (1981)
 * "How Do You Spell Love" (1982)
 * "Can't Tear It Up Enuff" (1982)
 * "Tuff Enuff" from the film "Gung Ho" (1986)
 * "Wrap It Up" (1986)
 * "How Do You Spell Love" (1987)
 * "Powerful Stuff" (1989)
 * "Knock Yourself Out" (1989)

title: The Fabulous Thunderbirds


text:
User:Yann

« And so, we don't need a business model, we're just doing it. »

Jimmy Wales, early 21st century.

I am a former Linux system administrator, now tour operator, tourist guide, translator and social activist. I am specially interested by India, Gandhi and non-violence.

And I mainly contribute to Wikimedia Commons, the French and English Wikisource. And I created Wikilivres, which is in South Korea. Yann 20:47 Jan 10, 2003 (UTC)

Reminders

 * Image copyright tags
 * Unttagged images : /Untagged Images
 * Public domain
 * User:Dragons flight/Log analysis
 * Non-U.S. copyrights
 * List of French language authors
 * WikiProject on closed proxies
 * How to reduce colors for saving a JPEG as PNG
 * Category:Copy to Wikimedia Commons (bot-assessed)
 * Category:Copy to Wikimedia Commons reviewed by Yann
 * Template:Wikidata list
 * mw:Extension:FileImporter/Data/en.wikipedia

Some works

 * Solange Fernex
 * André Larivière
 * Fast for Life
 * Sortir du nucléaire (France)
 * Larzac
 * Lanza del Vasto
 * Community of the Ark
 * José Bové
 * Nonviolent resistance
 * Mahatma Gandhi
 * Jai Jagat 2020
 * Ekta Parishad

Books and Projects

 * Book:Radical Christianity
 * WikiProject Nonviolence
 * User:Yann/Films renewals

Images

 * Category:Images published abroad that are in the public domain in the United States, PD-US-1923-abroad.
 * Category:Public domain images no longer eligible for claim of authorship, PD-EU-no author disclosure
 * Battle of Dreux, File:Porte Saint Antoine 1789 JB Lallemand.jpg, Étienne Geoffroy Saint-Hilaire, Anna Held, Augusta Savage, Advertising column, Comédie-Française, Saharet, File:Kissing the War Goodbye.jpg, File:Ps-debrazza-nadar.jpg, File:Bodies on the battlefield at antietam.jpg
 * File:Bewegungsstudie (Movement Study) 1925, black and white photograph by Rudolf Koppitz (restored).jpg
 * File:Child laborer.jpg

Interesting articles

 * Simulacron-3
 * Indian copyright law
 * Orion's Arm
 * Hard science fiction
 * Chernobyl Heart
 * Raymond Kurzweil, Technological singularity

Photos

 * Bridge digital camera
 * Sigma SD14
 * Sony Cyber-shot DSC-R1

Barnstars
br:Implijer:Yann de:Benutzer:Yann fr:Utilisateur:Yann gu:User:Yann hi:सदस्य:Yann ml:ഉപയോക്താവ്:Yann simple:User:Yann

title: User:Yann


text:
Liber Abaci

The Liber Abaci or Liber Abbaci (Latin for "The Book of Calculation") was a 1202 Latin work on arithmetic by Leonardo of Pisa, posthumously known as Fibonacci. It is primarily famous for helping popularize Arabic numerals in Europe.

Premise
Liber Abaci was among the first Western books to describe the Hindu–Arabic numeral system and to use symbols resembling modern "Arabic numerals". By addressing the applications of both commercial tradesmen and mathematicians, it promoted the superiority of the system, and the use of these glyphs.

Although the book's title is sometimes translated as "The Book of the Abacus", notes that it is an error to read this as referring to calculating devices called "abacus". Rather, the word "abacus" was used at the time to refer to calculation in any form; the spelling "abbacus" with two "b"s (which is how Leonardo spelled it in the original Latin manuscript) was, and still is in Italy, used to refer to calculation using Hindu-Arabic numerals, which can avoid confusion. The book describes methods of doing calculations without aid of an abacus, and as confirms, for centuries after its publication the algorismists (followers of the style of calculation demonstrated in Liber Abaci) remained in conflict with the abacists (traditionalists who continued to use the abacus in conjunction with Roman numerals). The historian of mathematics Carl Boyer emphasizes in his History of Mathematics that although "Liber abaci...is not on the abacus" per se, nevertheless "...it is a very thorough treatise on algebraic methods and problems in which the use of the Hindu-Arabic numerals is strongly advocated."

Summary of sections
The first section introduces the Hindu–Arabic numeral system, including methods for converting between different representation systems. This section also includes the first known description of trial division for testing whether a number is composite and, if so, factoring it.

The second section presents examples from commerce, such as conversions of currency and measurements, and calculations of profit and interest.

The third section discusses a number of mathematical problems; for instance, it includes (ch. II.12) the Chinese remainder theorem, perfect numbers and Mersenne primes as well as formulas for arithmetic series and for square pyramidal numbers. Another example in this chapter involves the growth of a population of rabbits, where the solution requires generating a numerical sequence. Although the problem dates back long before Leonardo, its inclusion in his book is why the Fibonacci sequence is named after him today.

The fourth section derives approximations, both numerical and geometrical, of irrational numbers such as square roots.

The book also includes proofs in Euclidean geometry. Fibonacci's method of solving algebraic equations shows the influence of the early 10th-century Egyptian mathematician Abū Kāmil Shujāʿ ibn Aslam.

Fibonacci's notation for fractions
In reading Liber Abaci, it is helpful to understand Fibonacci's notation for rational numbers, a notation that is intermediate in form between the Egyptian fractions commonly used until that time and the vulgar fractions still in use today.

Fibonacci's notation differs from modern fraction notation in three key ways:

 * 1) Modern notation generally writes a fraction to the right of the whole number to which it is added, for instance $$2\,\tfrac13$$ for 7/3. Fibonacci instead would write the same fraction to the left, i.e., $$\tfrac13\,2$$.
 * 2) Fibonacci used a composite fraction notation in which a sequence of numerators and denominators shared the same fraction bar; each such term represented an additional fraction of the given numerator divided by the product of all the denominators below and to the right of it. That is, $$\tfrac{b\,\,a}{d\,\,c} = \tfrac{a}{c} + \tfrac{b}{cd}$$, and $$\tfrac{c\,\,b\,\,a}{f\,\,e\,\,d} = \tfrac{a}{d} + \tfrac{b}{de} + \tfrac{c}{def}$$.  The notation was read from right to left. For example, 29/30 could be written as $$\tfrac{1\,\,2\,\,4}{2\,\,3\,\,5}$$, representing the value $$\tfrac45+\tfrac2{3\times5}+\tfrac1{2\times3\times5}$$. This can be viewed as a form of mixed radix notation, and was very convenient for dealing with traditional systems of weights, measures, and currency. For instance, for units of length, a foot is 1/3 of a yard, and an inch is 1/12 of a foot, so a quantity of 5 yards, 2 feet, and $$ 7 \tfrac34$$ inches could be represented as a composite fraction: $$\tfrac{3\ \,7\,\,2}{4\,\,12\,\,3}\,5$$ yards. However, typical notations for traditional measures, while similarly based on mixed radixes, do not write out the denominators explicitly; the explicit denominators in Fibonacci's notation allow him to use different radixes for different problems when convenient. Sigler also points out an instance where Fibonacci uses composite fractions in which all denominators are 10, prefiguring modern decimal notation for fractions.
 * 3) Fibonacci sometimes wrote several fractions next to each other, representing a sum of the given fractions. For instance, 1/3+1/4 = 7/12, so a notation like $$\tfrac14\,\tfrac13\,2$$ would represent the number that would now more commonly be written as the mixed number $$ 2\,\tfrac{7}{12}$$, or simply the improper fraction $$\tfrac{31}{12}$$. Notation of this form can be distinguished from sequences of numerators and denominators sharing a fraction bar by the visible break in the bar. If all numerators are 1 in a fraction written in this form, and all denominators are different from each other, the result is an Egyptian fraction representation of the number. This notation was also sometimes combined with the composite fraction notation: two composite fractions written next to each other would represent the sum of the fractions.

The complexity of this notation allows numbers to be written in many different ways, and Fibonacci described several methods for converting from one style of representation to another. In particular, chapter II.7 contains a list of methods for converting an improper fraction to an Egyptian fraction, including the greedy algorithm for Egyptian fractions, also known as the Fibonacci–Sylvester expansion.

Modus Indorum
In the Liber Abaci, Fibonacci says the following introducing the affirmative Modus Indorum (the method of the Indians), today known as Hindu–Arabic numeral system or base-10 positional notation. It also introduced digits that greatly resembled the modern Arabic numerals.

The nine Indian figures are: 9 8 7 6 5 4 3 2 1 With these nine figures, and with the sign 0 which the Arabs call zephir any number whatsoever is written...

In other words, in his book he advocated the use of the digits 0–9, and of place value. Until this time Europe used Roman numerals, making modern mathematics almost impossible. The book thus made an important contribution to the spread of decimal numerals. The spread of the Hindu-Arabic system, however, as Ore writes, was "long-drawn-out", taking many more centuries to spread widely, and did not become complete until the later part of the 16th century, accelerating dramatically only in the 1500s with the advent of printing.

Textual history
The first appearance of the manuscript was in 1202. No copies of this version are known. A revised version of Liber Abaci, dedicated to Michael Scot, appeared in 1227 CE. There are at least nineteen manuscripts extant containing parts of this text. There are three complete versions of this manuscript from the thirteenth and fourteenth centuries. There are a further nine incomplete copies known between the thirteenth and fifteenth centuries, and there may be more not yet identified.

There were no known printed version of Liber Abaci until Boncompagni's Italian translation of 1857. The first complete English translation was Sigler's text of 2002.

General and cited references

 * . Dover version also available, 1988, ISBN 978-0-486-65620-5.
 * . Dover version also available, 1988, ISBN 978-0-486-65620-5.

title: Liber Abaci


text:
Talk:Faces (band)

Hard Rock
In my opinion they were hard rock. Rock & Roll is Chuck Berry. — Preceding unsigned comment added by 83.46.195.26 (talk) 12:17, 2 March 2015 (UTC)

Name
They are known as the Faces, with the definite article, so I've moved it back. Please discuss here if you disagree. Rothorpe (talk) 23:19, 23 September 2015 (UTC)

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Inadequate punctuation.
This article could use at least a dozen extra commas. It would not get a passing grade on a high school punctuation test.77Mike77 (talk) 15:07, 8 March 2019 (UTC)

title: Talk:Faces (band)


text:
Hot Tuna

Hot Tuna is an American blues rock band formed in 1969 by former Jefferson Airplane members Jorma Kaukonen (guitarist/vocals) and Jack Casady (bassist). Although it has always been a fluid aggregation, with musicians coming and going over the years, the band's center has always been Kaukonen and Casady's ongoing collaboration.

1969–1973: beginnings
Hot Tuna began as a side project to Jefferson Airplane, intended to mark time while Grace Slick recovered from vocal cord nodule surgery that had left her unable to perform. They initially named the group Hot Shit but then decided on the more innocuous Hot Tuna. That name came from someone Jorma Kaukonen referred to as a "witty wag" who called out "hot tuna" after hearing the line "What's that smell like fish, oh baby", from the song "Keep On Truckin'   ". Kaukonen, Jack Casady, Paul Kantner and new drummer Joey Covington played several shows around San Francisco, including the Airplane's original club, The Matrix, before Jefferson Airplane resumed performing to support Volunteers. (Although Covington had been hired by Jefferson Airplane, he only performed at select engagements, with Spencer Dryden continuing to perform as the band's principal drummer until his 1970 dismissal). Once the Airplane had resumed touring, Tuna found itself opening for the Airplane. Their early repertoire derived mainly from Kaukonen's Airplane material and covers of American country and blues artists such as Reverend Gary Davis, Jelly Roll Morton, Bo Carter and Blind Blake.

In September 1969, Kaukonen and Casady employed the moniker for a week of acoustic-based concerts at the New Orleans House in Berkeley, California; recordings culled from this engagement were released as the band's eponymous debut album in 1970. This album has become affectionately known by the group's fans as the "breaking glass album", because of the sound of breaking beer glasses during the recording of "Uncle Sam Blues". Some tracks included Will Scarlett on harmonica. After the album was recorded, Jorma's brother Peter Kaukonen soon replaced Kantner on rhythm guitar and Jefferson Airplane co-lead vocalist Marty Balin joined on vocals for the electric songs. In 1970, the younger Kaukonen was replaced by Paul Ziegler.

That summer, RCA paid for the band to go to Jamaica to record their next album, but the album was never finished, in part due to a financial dispute between Balin (who left both bands shortly thereafter) and Kaukonen and Casady. Violinist Papa John Creach joined Hot Tuna and Jefferson Airplane in October 1970. Both bands finished a joint tour in November 1970 with shows at the Fillmore East.

In September 1970, Kaukonen and Casady performed two acoustic-based shows as Hot Tuna without Jefferson Airplane at Pepperland (a large dance hall in San Rafael, California) and received good reviews, further signifying that Hot Tuna could survive without the other band to support it.

As Jefferson Airplane wound down and stopped regularly touring for over eighteen months (save for a handful of concerts in the summer of 1971 and winter of 1972) after the Fillmore East shows, Hot Tuna became an independent group. In this era, Hot Tuna's members were Kaukonen, Casady, drummer Sammy Piazza, and Creach, moving fully to the electric band format. This lineup was first documented on the album First Pull Up, Then Pull Down (1971), which was recorded live at the Chateau Liberte, an obscure club located near Los Gatos, California, in the Santa Cruz Mountains that was favored by the band throughout the era. The group also appeared on three tracks from Papa John Creach's debut solo album, as well as "Walking the Tou Tou" from his second album, Filthy!

The studio albums Burgers (1972) and The Phosphorescent Rat (1974) followed, with Creach leaving before the latter was recorded. These two albums featured mostly Kaukonen compositions. On the former album, David Crosby sang supporting vocals on "Highway Song", while keyboardist Nick Buck (who frequently guested with the group in the studio for the next five years before serving as a touring member in 1977) contributed to two tracks.

1974–1977: Power trio
As the band prepared for its 1974 tour in support of The Phosphorescent Rat, Kaukonen laid off Piazza after deciding to have the band return to its semi-acoustic repertoire. Kaukonen and Casady then proceeded to record Kaukonen's first solo album, Quah. However, July 1974 marked a departure from their primarily bluesy, acoustic style when Hot Tuna dropped their acoustic sets completely and morphed into a heavy rock band. In October 1974, the group performed on The Midnight Special.

The albums America's Choice (1975), Yellow Fever (1975), and Hoppkorv (1976) showcase a power trio with the addition of new drummer Bob Steeler. Jeff Tamarkin's liner notes on the RCA "Platinum Gold Hot Tuna Collection" characterize this trilogy as being emblematic of the band's "rampage years." Kaukonen is quoted as saying the change of focus was due to the fact that "it was just fun to be loud." During this period, Kaukonen's electric guitar playing was multi-layered, prominently showcasing such effects as the Roland Jet phaser. His "rampage" style is typified by the solos on "Funky #7" and "Serpent of Dreams" on America's Choice and "Song for the Fire Maiden," "Sunrise Dance with the Devil," and "Surphase Tension" on Yellow Fever. Live performances throughout the epoch were distinguished by free-flow improvisational jams and very long sets (up to six hours uninterrupted) with extended versions of their studio material. A November 1976 concert at the Palladium in New York City featured a 16-minute version of "Invitation." However, producer Harry Maslin did not appreciate the group's style and held them to a more traditional rock format (including several cover songs) for Hoppkorv. In 1977, Kaukonen began to perform solo sets before the band would perform. The trio stopped touring at the end of 1977 and performed its final concert at the Palladium on November 26, with keyboardist Nick Buck and saxophonist "Buffalo" Bob Roberts.

Although live performances from all iterations of the group enjoyed a notable cult following for much of the 1970s, Hot Tuna failed to rival or eclipse Jefferson Airplane and Jefferson Starship from a commercial standpoint. All but two Hot Tuna albums from the era reached the Billboard Top 100, America's Choice was their only post-1972 album to chart for more than ten weeks, peaking at No. 75.

1978–1985: hiatus and brief reunion
Due to emergent tensions between Kaukonen and Casady, a planned 1978 tour was canceled, with Kaukonen filling these dates by performing solo. A double live album, Double Dose, was released that year as a document of the previous year's tour. Casady and Kaukonen went their separate ways and pursued short-lived careers in the new wave bands SVT and Vital Parts, respectively. In 1979, Kaukonen released his second solo album and Grunt Records released the Hot Tuna compilation Final Vinyl.

Rhythm guitarist Michael Falzarano and drummer Shigemi Komiyama joined Kaukonen and Casady for a Hot Tuna reunion tour in 1983. The group played a mix of new material alongside the classic Hot Tuna songs. This, combined with the group's hard rock and heavy metal approach, were not well received, with reports of fans walking out of shows.

1986–present
Hot Tuna again reformed in 1986, with producer Joey Balin joining on rhythm guitar until 1987. Kantner joined the band in 1987 and 1988, adding some old Jefferson Airplane songs to the setlist. Grace Slick appeared with them for one show at The Fillmore in March 1988. The band continued into 1989 and Kaukonen and Casady joined the 1989 Jefferson Airplane reunion album and tour, performing acoustic Hot Tuna sets in the middle of each show. At the end of the Airplane tour, Hot Tuna resumed their electric performances, adding Falzarano and drummer Joey Stefko. Shortly thereafter, New Yorker Harvey Sorgen replaced Stefko on drums and Galen Underwood joined on keyboards for their first album of all new material in almost 14 years, 1990's Pair a Dice Found. Kaukonen and Falzarano both contributed original songs.

Throughout the 1990s, Hot Tuna again alternated between acoustic and electric styles. The two Sweetwater albums were predominantly acoustic sets with guests such as Bob Weir, Maria Muldaur and former Jefferson Starship bassist-keyboardist Pete Sears; the latter was to join the group for the remainder of the decade.

On August 13th, 1994 the duo would perform with "The Band & Friends" (along with Bruce Hornsby) on the South Stage at Woodstock '94.

The 1997 release Live in Japan was in many ways reminiscent of the very first Hot Tuna album, having a minimalistic sound and being recorded live at a tiny venue (Stove's in Yokohama). Falzarano and Sears stayed with the band until the early 2000s.

In 2004, Casady and Kaukonen were joined by mandolinist Barry Mitterhoff and drummer Erik Diaz. In August 2009, following the departure of Diaz, Skoota Warner officially joined the band as drummer. In November 2010, Hot Tuna performed as a semi-acoustic trio: Casady, Kaukonen and Mitterhoff at a Midnight Ramble at Levon Helm's Barn studio in Woodstock, New York. In the same month, Kaukonen announced on his blog that Hot Tuna had begun recording its first studio album in 20 years. The album, Steady as She Goes, was released by Red House Records on April 5, 2011. For the first half of 2011, guitarist Jim Lauderdale and harmonica player Charlie Musselwhite toured with them; later in the year they were joined by Musselwhite, guitarists David Bromberg, Larry Campbell, Steve Kimock, and G. E. Smith, and vocalist Teresa Williams. Both Campbell and Williams, who guested on the Steady as She Goes album, have remained with the band in a touring capacity. In 2014, Justin Guip, who had engineered the album in addition to Kaukonen's recent solo work, took over drumming duties from Warner.

Members
The band has performed live as Hot Tuna between 1969 and 1977; in 1983; and from 1986 to present:

Current members

 * Jack Casady – bass (1969–1977, 1983, 1986–present)
 * Jorma Kaukonen – lead guitar, vocals (1969–1977, 1983, 1986–present)

 * Touring musicians
 * Larry Campbell – rhythm guitar, vocals, violin, lap steel guitar (2011–present)
 * Teresa Williams – vocals (2011–present)
 * Justin Guip – drums (2014–present)

 * Studio musicians
 * Robert McCrimlisk – mandolin (2014–present)
 * Christopher McGrath – banjo (2014–present)

Former members

 * Joey Covington – drums (1969–1970; died 2013)
 * Paul Kantner – rhythm guitar (1969, 1987–1988; died 2016)
 * Marty Balin – vocals (1969–1970; died 2018)
 * Peter Kaukonen – rhythm guitar (1969–1970, 1989–1990)
 * Paul Ziegler – rhythm guitar (1970)
 * Papa John Creach – electric violin (1970–1973; died 1994)
 * Sammy Piazza – drums (1970–1973)
 * Bob Steeler – drums (1974–1977)
 * Michael Falzarano – rhythm guitar, vocals (1983, 1989–2002)

 * Shigemi Komiyama – drums (1983)
 * Joey Balin – rhythm guitar (1986–1987)
 * Joey Stefko – drums (1989–1990)
 * Harvey Sorgen – drums (1990–2000)
 * Galen Underwood – keyboards (1990)
 * Pete Sears – keyboards (1992–2001)
 * Barry Mitterhoff – mandolin (2002–2014)
 * Erik Diaz – drums (2004–2009)
 * Skoota Warner – drums (2009–2014)

 * Studio and touring musicians
 * Will Scarlett – harmonica (1969–1971)
 * Nick Buck – keyboards (1976–1978)
 * Jim Lauderdale – rhythm guitar (2011)
 * Charlie Musselwhite – harmonica (2011)
 * David Bromberg – rhythm guitar (2011)
 * Steve Kimock – rhythm guitar (2011)
 * G. E. Smith – rhythm guitar (2011)

Discography

 * Hot Tuna (1970)
 * First Pull Up, Then Pull Down (1971)
 * Burgers (1972)
 * The Phosphorescent Rat (1974)
 * America's Choice (1975)
 * Yellow Fever (1975)
 * Hoppkorv (1976)
 * Double Dose (1978)
 * Pair a Dice Found (1990)
 * Live at Sweetwater (1992)
 * Live at Sweetwater Two (1993)
 * Live in Japan (1997)
 * And Furthurmore... (1999)
 * Steady as She Goes (2011)

title: Hot Tuna