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Topic: Pye Records

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In the News (Mon 22 Oct 18)

  Pye Records - Wikipedia, the free encyclopedia
In 1955, Pye acquired Polygon Records, a label that had been established by Clark's father to control distribution of her recordings, and merged it with Nixa Records to form Pye Nixa Records.
In 1959, the name was changed to Pye Records and ATV acquired 50% of the label.
When the rights to the name Pye expired in 1980, the label changed its name to PRT Records.
en.wikipedia.org /wiki/Pye_Records   (214 words)

 Pye Records   (Site not responding. Last check: 2007-11-05)
However Pye International did not turn out to be a prolific label, because in 1960 they were given the rights to use the Warner Bros label in the UK, and they used it's American design on their records, which other British major labels disliked doing.
Pye ignored the punk movement completely, preferring to concentrate on the disco scene and MOR music, virtually a reflection of it's parent company who had also refused to bend with trends in the electronic market with the result they were taken over by Philips.
Pye's electrical division was taken over by Philips in 1976, initially to launch CB radios, but unlike Philips, Sony and Panasonic, it did little to advance itself in the world of technology, due to average product range, and it's inability to pioneer new inventions.
www.ean.co.uk /Data/Bygones/History/Article/Radio_and_Television/html/body_pye_records.htm   (2035 words)

 captain beefheart - weird story - refusal of leave to land report (january 1968)
meaden said that he represented new wave records ltd., 17-19 stratford place, london, which firm was sponsoring the group's visit to the united kingdom, in conjunction with the group's american recording company, kama sutra / buddha records ltd., new york.
pye came into the picture because the president of kama sutra records, mr artie ripp, an american, was with the company negotiating some form of takeover bid by pye for his company.
wise of pye and advised them that they should contact the ministry of labour and equity and apply for permits.
www.freewebs.com /teejo/odd/refusal.html   (1406 words)

 Pye International Record Label
The Pye label was born around 1957 and it was first called PYE NIXA, they had many hit records with mainly pop artists.
Pye International began in 1959, the original label colour was blue, in the sixties fl artist's releases were on the classic red and yellow label, with "R and B" series on the center.
It was not until the end of the sixties that the label achieved cult status among record collectores.
www.georgwa.demon.co.uk /pye_international_records.htm   (501 words)

 MILESAGO - Record Labels - Astor
Astor Records was a leading Melbourne-based recording and distribution company that operated from the early 1960s until sometime in the 1980s.
The record division's HQ was in Melbourne and their pressing plant was located at Clayton, but the company evidently had offices and/or warehouses in other capital cities including Sydney and Brisbane.
Pye also had interests in the BBC, Satril, Fly, and Disco Demand labels but their most successful affiliate label was DJM (Dick James Music), the label to which Elton John was signed in the early '70s.
www.milesago.com /industry/astor.htm   (2345 words)

 Songs I'd written / John Scott Cree
When we recorded, I was able to invite Mick Fox from the Dover days to play harmonica on Bar Wars and Hay fever blues; it was good to play with him again.
When we recorded the song, it was for me the highlight of the session.
Pye wanted His greatest hit redone in the way Jed Kearse had heard us running through it at half tempo when he visited the first sessions.
pages.britishlibrary.net /johnscottcree/Chap1a.html   (1332 words)

 Classic Records Newsletter   (Site not responding. Last check: 2007-11-05)
K: BOG was recorded on New Years Eve and New Years day during four shows (two each day) at the Filmore East in New York.
Pye Records released all the Warner's material and Chess so, I got to listen to all this great R&B and Blues and other incredible stuff before it came out.
In addition to the studio, we had the Pye mobile recordings setup which was in demand for location recordings.
www.classicrecs.com /newsletter/newsletter/newsletter.cfm?Article=32   (2165 words)

 Union Extended LP
It was issued in 1976 in the United Kingdom only under the Stax label and distributed by PYE Records, who owned the distribution deal at the time in Great Britain.
Over the years, Soul fans have come to regard Booker T and The M.G.'s almost as an institution, but time changes all things, and in 1975 not only the group, but the whole world of Soul music, was robbed of one of its most talented members with the tragic death of AI Jackson.
The beauty of records and films is that they bestow a kind of immortality in that the talents of the artist can live on and give pleasure to succeeding generations.
staxrecords.free.fr /unionextended.htm   (707 words)

 Commercial Releases
Recorded at The Klub Foot in Hammersmith, London on 22nd September 1984, this LP features live tracks by four bands: Restless, Thee Milkshakes (sic), The Stingrays and Guana Batz.
Recorded at EMI Abbey Road Studio 1 in May 1992, this CD features 13 tracks, including a reasonable extended rendition of the closing titles.
Sequel Records is a division of Castle Music Ltd., but despite this (!) there are quite a few tracks on this CD that makes it worth buying - mainly the weird collection of b-sides and cover versions, some of which have to be heard to be believed.
www.bigrat.co.uk /music/commercial.html   (4439 words)

 Articles - The Kinks   (Site not responding. Last check: 2007-11-05)
After their second single, the Merseybeat-styled Beatles imitation "You Still Want Me", fared even worse than its predecessor, Pye Records was on the verge of dropping them; the band was made aware that the next single had to succeed.
A stunning collection of thematically related vignettes assembled from songs written and recorded over the previous two years, the album lacked a commercial single and was sorely out of touch with the social, heavy rock, and psychedelic music popular at the time.
Featuring a harder rock foundation than their records of recent years, and with the amusing theme of a mistaken romantic encounter with a transvestite, "Lola" was a much-needed worldwide hit and a concert favourite that served to revitalize the group's commercial viability (just as "You Really Got Me" had done six years before).
www.lastring.com /articles/The_Kinks   (5350 words)

 A&M Records -- Facts, Info, and Encyclopedia article   (Site not responding. Last check: 2007-11-05)
A&M Records is a record label formed in 1962 by (Click link for more info and facts about Herb Alpert) Herb Alpert and (Click link for more info and facts about Jerry Moss) Jerry Moss.
Their first choice for a name was (Click link for more info and facts about Carnival Records) Carnival Records and they released two singles under that name before they learned another label had taken the Carnival name first.
A&M Records, Ltd. was established in 1970 and distribution was still handled by other labels with a presence in Europe.
www.absoluteastronomy.com /encyclopedia/a/a/a&m_records1.htm   (659 words)

 Artists No 3 - Tintrax Records   (Site not responding. Last check: 2007-11-05)
Trouble was - nobody actually bought any of their records which is why PYE dropped them after only two albums.
Like their more famous conterparts they all played guitars and sang which is why their records sounded folky.
PYE obviously didn't believe in DCD too greatly as they didn't see fit to hire any session players to fill out the rhythm section - guitars and voices were all you got.
www.tintrax.co.uk /artists3.htm   (310 words)

 The Kinks: Four More Respected Gentlemen - Rock 'N Roll Case Study
This was really a nervy request given The Kinks’ sagging financial fortunes, their uncertain drawing power and Pye’s tremendous patience and support during the arduous construction of the LP and the tumultuous months preceding it.
Frustrated Pye executives saw it as the latest in a series of problems presented by the arrogant, moody, self-obsessed pop singer, but were in a quandary as he had made them so much money in the past, and there was a good deal of money already invested in the project.
It is wholly possible that such a notion factored into Pye’s reluctance to move forward with the idea of a double album (for to compete with The Beatles is to face the gods, and to fail).
earcandy_mag.tripod.com /rrcase-kinks4more.htm   (1906 words)

 Tony Jackson - Bill Harry - Mersey Beat   (Site not responding. Last check: 2007-11-05)
The group signed to Pye Records and their first release 'Bye Bye Baby' c/w 'Watch Your Step' was issued on Pye 7N 15685 in September 1964.
Following the lack of success with the recordings, he was dropped by Pye and signed by CBS.
As for Tony, I recall the excitement of hearing his voice on record when 'Sweets For My Sweet' was released and realized that it was one of the best examples of the Liverpool Sound.
www.triumphpc.com /mersey-beat/a-z/tonyjackson2.shtml   (589 words)

 The Breakaways at Spectropop
Their first single in 1963, a remake of "You don't have to be a baby to cry," was surprisingly their first and only hit.
It took them to America for a short tour and spawned a rerelease of "You don't have to be a baby...." on Smash records in the states.
Encouraged by co-workers to cut a record, they did a demo of "You Don't Have To Be A Baby To Cry," a tune they discovered on the back of Tennessee Ernie Ford's "Sixteen Tons." They name themselves the Caravelles after the French airliner.
www.geocities.com /spectropop/gg/caravelles.html   (519 words)

 The Kinks, MP3 Music Download at eMusic
Not only was the group recording at a breakneck pace, they were touring relentlessly, as well, which caused much tension within the band.
Released in late 1984, the album was similar in tone to the last few Kinks records, but it was a commercial disappointment and began a period of decline for the band; they never released another record that cracked the Top 40.
In early 1986, the band signed with MCA Records in the U.S., London in the U.K. Think Visual, their first album for their new label, was released in late 1986.
www.emusic.com /artist/10561/10561628.html   (1785 words)

 Muppet Central Collectibles - Muppets: Audio
This is a re-issue of the 1971 record on a different label.
This is a re-issue of the 1972 record on a different label.
The UK record also includes a Gatefold cover which has a large picture of Kermit squatting under the Muppet Show logo, with pictures of the characters surrounding him from the first season.
www.muppetcentral.com /collectibles/muppets/audio.shtml   (1639 words)

 UK Casablanca - distinguishing features
I have already stated that the distribution deal with PYE Records was coming to a close in 1980, and that the last KISS single released via Casblanca/Pye was indeed "2,000 Man".
When PYE took over the distribution deal in the UK for 1977 onwards (to 1980), they quickly re-released the previous KISS albums that were originally released via Casablanca/EMI.
It's tempting to believe that the PYE re-issues were actually released around June 1977, ie after the USA release of 'LOVE GUN' but prior to the UK release thereby giving time for the 'Love Gun' style picture label to be used...
homepage.ntlworld.com /jasonally/page7.html   (1254 words)

 [No title]
The event was televized (in the UK and Denmark), recorded and released on both album and video (slightly edited).
Ian Gillan started recording demo tapes with various material as early as September 1972 and continued doing so over the passing years.
A session originally meant to be the soundtrack for a cartoon based on the drawings of Alan Aldridge.
www.thehighwaystar.com /rosas/jouni/rg.html   (3960 words)

 MusicDish Industry e-Journal
Out of this, for the last four or five years, I've been writing more with these blokes in mind, to record with them on a CD a year basis, which is just like a succession of fun gigs, except no one pays you.
There are a lot of one-hit-wonders in the charts, perhaps because record companies are developing DVD or whatever and licking their Mariah Carey wounds.
I'd have liked the security of hit records for the family to be able to do it full time, but that might have messed up our relationships.
www.musicdish.com /mag/index.php3?id=7167   (3650 words)

 Ever Heard Of - Episode Six
After being signed by Pye Records in November 1965, four successive singles were released in 1966.
After a falling out with their record company over the promotion and distribution of what the band thought was a sure fire hit, Episode Six left Pye and signed with MGM in February 1968.
In yet another effort to capture mainstream attention, a further departure in style was attempted in the summer of '68.
www.classicrockpage.com /everheardof/EpisodeSix.htm   (710 words)

 Dad's Army Memorabillia - Singles - Who Do You Think You Are Kidding Mr.Hitler? by Bud Flanagan
The song was frequently mistaken for a genuine wartime song by the show's viewers, although it hadn't actually being written until Jimmy Perry was developing the idea for his new television series.
The song however, went on to discover great popularity that it was released as a single by Pye records in 1969 and again in 1975.
The B-side of the record, by Bernard Bedford and Chorus had nothing whatsoever to do with the A-side nor the Dad's Army TV series.
home.btconnect.com /howejam/dadsarmy/discography/45_budstheme.htm   (176 words)

 Downtown Girl
Forty years of recordings by Petula Clark outline a stellar career
She recorded hits in five languages, becoming a cult figure in France before returning to England in triumph with “Downtown.” And when the Beatles kept her from the No. 1 spot on the British charts, Clark turned around and knocked them off that spot in the United States.
Clark recorded 17 best-selling albums for Pye Records between 1957 and 1971, and it is for Pye in the mid-'60s that she created her unique sound.
When “Downtown” changed all that in 1964 — debuting at No. 1, winning Clark her first Grammy and providing her with instant fame — Pye Records rushed to release an album that consisted of that megahit plus all the stuff in English from the previous couple of years.
www.petulaclark.net /theatre/sbsfarticle.html   (912 words)

They have also removed the Pye Records logo from the top left hand corner, even though the re-issue is on Pye.
One is on Pye Records and has a shaded mauve label.
The other is on PRT (Precision Records And Tapes Ltd.) and has a fir green label with a red swirly blob in the middle.
www.sabotage.demon.co.uk /donovan/disco/fairytal.htm   (778 words)

 The Breakaways at Spectropop   (Site not responding. Last check: 2007-11-05)
The girls decided to do it, and after many hours of rehearsing and perfecting arrangements, they cut their first demo.
The record became a smash hit in the United Kingdom, and coincidentally, it was given to Smash records to put out in North America.
Any use, reuse, reproduction and/or adaptation without written permission of the owners is a violation of copyright law and is strictly prohibited.
www.spectropop.com /gg/caravelles.html   (519 words)

 The Jackie Lomax Story 1962-1965   (Site not responding. Last check: 2007-11-05)
It might have been the most lucrative record deal on offer but neither Hatch nor Pye seemed to appreciate the Undertakers' strengths and proceeded to make decisions which threw away the chance of fulfilling the potential of their live act.
Their fourth and final single for Pye, If You Don't Come Back (coupled with the stronger Think), was produced in insufficient quantities due to the annual holidays of Pye's pressing plant and failure was once again assured.
For that record, Pye had insisted that they shorten their name to the less offensive Takers, which proved to be the final straw for the group, and in 1965 they decided to try their luck in the USA.
www.jackielomax.com /story/story6265.html   (921 words)

 Prelude Records @ Disco-Disco.com   (Site not responding. Last check: 2007-11-05)
My involvement with Scepter Records was from the very beginning having started it with Florence Greenberg and the music at that time was certainly different than it was when the Disco era came about.
I think major record companies for the most parts are tremendous marketing machines and that they obviously depend upon the smaller labels to find and start new directions in music.
MicMac Records was the largest and leading label of Freestyle music in the late-80s to the early-90s and their most famous artists were Johnny-O and Cynthia.
www.disco-disco.com /labels/prelude.html   (3785 words)

 CMT.com : Sounds Orchestral : Biography
Sounds Orchestral was, for a time, Pye Records' answer to EMI's Sounds Incorporated, although unlike their better known rivals, they were more of a studio ensemble and never got into the position of touring with the Beatles.
The original line-up included veteran pianist John Pearson, born in 1925 and a bit long-of-tooth to be competing in the rock 'n' roll world, and ex-Johnny Dankworth drummer Kenny Clare, along with 21-year old bassist Tony Reeves, later of Curved Air, Greenslade, and Colosseum, among other bands.
It was to be their only major chart entry, but that was enough to yield a pair of LPs and several singles over the ensuing half-decade, and the group continued releasing music intermittently, in one form or another, at least thru the 1970's and early 1980's.
www.cmt.com /artists/az/sounds_orchestral/bio.jhtml   (263 words)

 The Breakaways at Spectropop   (Site not responding. Last check: 2007-11-05)
As session regulars, they sang on hundreds of sessions, but the group also recorded a handful of notable if relatively unsuccessful singles under their own name.
In 1964 the girls released "The Boy of Mine" on Pye Records.
In 1968 with four singles behind them, the Breakaways recorded the Mike Leander tune "Sacred Love." Blending the psychedelic sound with those renowned girl group melodies makes for the most unusual and beautiful composition.
www.spectropop.com /gg/breakaways.html   (439 words)

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