Billy Nicholls (born William Nicholls Jr, 15 February 1949, White City, Hammersmith, London) is an English singer, songwriter, record producer and musical director, who first gained fame in the 1960s while still a teenager with his Pet Sounds influenced album, Would You Believe, originally released on Immediate Records.

Nicholls' compositions have been covered by many artists; his first success came in 1977 when Leo Sayer covered "Can't Stop Loving You (Though I Tried)"; it rose to #7 in the UK Singles Chart. Nicholls wrote several of the tracks for the film, McVicar, starring Roger Daltrey, including "Without Your Love" which was a success in the United States.

An American southern rock group, Outlaws recorded "I Can't Stop Loving You" on their 1980 release, Ghost Riders. More recently, Phil Collins also recorded "Can't Stop Loving You" and it proved to be a success as a U.S. single, appearing on several of his albums, and was performed on his last world tour.

In 2003 Nicholls received an ASCAP award for "Can't Stop Loving You". Keith Urban recorded the same song on his album.

Nicholls set up Southwest Records in 1998 and has released seven albums featuring his own work. He also supplied uncredited backing vocals on The Nice's 1967 debut single "Thoughts of Emerlist Davjack".

He is father of Morgan Nicholls and Amy Nicholls

Source : Wikipedia

London Social Degree (1968)

Would You Believe

http://www.billynicholls.com/

Daytime Girl (1968)

Feeling Easy

Girl from New York

Life is Short (1968)

Français :

Canned Heat est un groupe de blues-rock américain formé en 1965 à Los Angeles, Californie. Ses plus grands succès ont été On The Road Again en 1968 et Going Up The Country en 1969. Le groupe a participé activement à la vague du blues revival à la fin des années 1960. Se produisant notamment dans plusieurs grands festivals, Canned Heat a été l'un des groupes les plus populaires des années hippie.

Canned Heat est le fruit de la rencontre à Los Angeles de deux grands amateurs de blues : le chanteur Bob Hite et le guitariste Alan Wilson. Hite The Bear (l'ours en référence à sa forte corpulence) et Wilson The Owl, Blind Owl (la chouette, la chouette aveugle pour sa mauvaise vue) sont rejoints par le guitariste Henry Vestine (surnommé Sunflower, et ancien membre des Mothers of Invention de Frank Zappa), le bassiste Larry Taylor The Mole (la taupe) (musicien de studio ayant joué avec Jerry Lee Lewis, plusieurs fois bassiste de studio et de scène pour Tom Waits et The Monkees) et le batteur Frank Cook.

Le groupe tire son nom d'un vieux blues de Tommy Johnson intitulé Canned Heat Blues, écrit en 1928. Le Canned Heat était une boîte de conserve qui contenait de l'alcool quasiment pur utilisé comme produit de ménage. En pleine prohibition, les plus démunis en tiraient une boisson hautement toxique. Tommy Johnson est d'ailleurs décédé d'empoisonnement par consommation du produit.

Canned Heat est toujours actif aujourd'hui, malgré le décès de ses deux fondateurs et de nombreux changements de musiciens depuis la fin des années 1970. Les seuls membres survivants de la formation de départ sont Larry Taylor et Fito de la Parra, seul ce dernier faisant encore partie du groupe.

Les origines de Canned Heat se trouvent dans une communauté de collectionneurs de disques de Blues, qui se réunissaient depuis plusieurs années dans la maison de Bob Hite pour y échanger leurs trouvailles. En 1965, plusieurs habitués du lieu décident de former un jug band, qui comprend notamment deux futurs membres de Canned Heat, Bob Hite et Alan Wilson. Ils sont bientôt rejoints par le guitariste Henry Vestine, fraichement exclu des Mothers of Invention de Frank Zappa pour usage de drogue intempestif, puis par le batteur Frank Cook, jeune vétéran ayant notamment joué aux côtés de stars du Jazz comme Charlie Haden ou Chet Baker.

Embauché par le producteur Johnny Otis, le groupe enregistre en 1966 un premier album, qui ne sortira qu'en 1970, une fois la célébrité acquise, sous le titre Vintage Heat. Le disque contient essentiellement des reprises de standards du Blues, parmi lesquels Rollin' and Tumblin', Spoonful de Willie Dixon et Louise de John Lee Hooker. Leur bassiste, Stuart Brotman, ayant quitté le groupe pour s'adonner à la World Music (il accompagna notamment une danseuse du ventre, puis forma le groupe Kaleidoscope), le groupe intègre tour à tour plusieurs musiciens avant de fixer son choix en mars 1967 sur Larry Taylor.

En 1967, le groupe commence à enregistrer pour Liberty Records, managé par Skip Taylor et John Hartmann. Leur premier single, composé de Rollin’ and Tumblin’ et Bullfrog Blues, est bientôt suivi, en juillet 1967, d'un album éponyme. Composé exclusivement de standards revisités, le disque remporte un certain succès critique et se vend raisonnablement bien, atteignant la 76e place des charts du Billboard.

En 1967, le groupe acquiert une certaine célébrité en se produisant au Monterey Pop Festival, le 17 juin. Cela leur vaut d'apparaître en couverture du magazine musical Down Beat Magazine, ainsi que dans le documentaire du réalisateur D.A. Pennebaker, qui comprend leur version de Rollin and Tumblin' . Une célébrité encore renforcée par l'arrestation du groupe à Denver, Colorado, pour possession de drogue, qui sera relatée dans la chanson My Crime. Pour obtenir les 10 000 dollars de la caution, leur manager, Skip Taylor, doit vendre les droits de publication du groupe au président de leur label, Liberty Records.

Après cet incident, le groupe est rejoint par le batteur Fito de la Parra, achevant ce qui est considéré comme la formation "classique" de Canned Heat, celle qui a enregistré les morceaux les plus marquants. De la Parra avait auparavant joué avec The Platters, The Shirelles, T-Bone Walker et Etta James.

La même année, Canned Heat enregistre l'album Boogie with Canned Heat, qui contient notamment leur célèbre version de On the Road Again, une composition de Floyd Jones qui date des années 1950. Chanté par Alan Wilson , dont la voix aigüe le rend immédiatement identifiable, le morceau sera un grand succès mondial, l'un des premiers pour un morceau de Blues. L'album comprend également Fried Hockey Boogie, un long Boogie de 12 minutes visiblement inspiré par John Lee Hooker, et Amphetamine Annie, qui devient la première grande chanson anti-drogue (en l'occurrence, les amphétamines) de la décennie.

Le succès de l'album permet notamment aux managers de Canned Heat d'acquérir un club de Hollywood, le Kaleidoscope, situé sur Sunset Boulevard, qui devient la base du groupe. S'y produiront également des formations telles que Jefferson Airplane, the Grateful Dead, Buffalo Springfield et Sly & The Family Stone.

Après avoir joué devant près de 80 000 personnes lors du premier festival pop de Newport, Canned Heat se lance en septembre 1968 dans sa première tournée européenne. À cette occasion, ils participent notamment aux émissions de télévision Top of the Pops en Angleterre et Beat Club en Allemagne, propulsant On the Road Again au sommets des ventes sur pratiquement tout le continent.

En octobre 1968, Canned Heat poursuit sur sa lancée avec le double album Living The Blues. Il contient notamment le célèbre morceau Going Up The Country, à nouveau chanté par Alan Wilson. Immortalisé dans le film officiel du festival de Woodstock, par Michael Wadleigh, le morceau atteindra la première place des charts dans 25 pays du monde, bien que s'étant seulement classé 11e aux États-Unis. Le groupe enregistre également un album live au Kaleidoscope, qui sortira sous le titre Live At Topanga Corral.

En juillet 1969, Canned Heat sort son quatrième album, Hallelujah, qui contient notamment la chanson de Tommy Johnson qui a donné son nom à Canned Heat. Quelques jours après la sortie du disque, le guitariste Henry Vestine quitte le groupe après une violente dispute avec Larry Taylor sur la scène du Fillmore West. Sa place est proposée à Mike Bloomfield et Harvey Mandel, et ce dernier accepte de rejoindre le groupe. C'est cette formation qui se produit à la mi-août au festival de Woodstock. La prestation du groupe, au coucher du soleil le deuxième jour du festival, restera comme sa plus célèbre.

En 1970, Canned Heat sort Future Blues, dont est extrait le single Let’s Work Together, écrit par Wilbert Harrison, qui devient le seul tube du groupe chanté par Bob Hite. La pochette du disque, reconstitution de la célèbre photographie de la bataille de Iwo Jima (Raising the Flag on Iwo Jima), déplacée sur la Lune et avec un drapeau américain à l'envers, déclenche une polémique aux États-Unis. D'après le groupe, elle reflète son amour de la nature et sa peur de voir notre satellite aussi pollué que la Terre. C'est le thème de la chanson Poor Moon.

À la suite de sa tournée européenne, Canned Heat sort en 1970 l'album live Canned Heat '70 Concert Live In Europe, plus tard réédité sous le nom Live in Europe. Malgré un certain succès critique, les ventes sont décevantes. La même année, Larry Taylor quitte le groupe pour rejoindre John Mayall, bientôt suivi par Harvey Mandel.

À la suite du départ de Taylor et Mandel, Canned Heat est à nouveau rejoint par le guitariste Henry Vestine, accompagné du bassiste Antonio de la Barreda. Ensemble, ils entrent en studio avec John Lee Hooker pour enregistrer le double album Hooker 'N Heat. Le groupe avait initialement rencontré le célèbre bluesman à l'aéroport de Portland, dans l'Oregon, et ils étaient devenus amis. Hooker a même déclaré qu'il tenait Alan Wilson pour "le plus grand harmoniciste de tous les temps" ("the greatest harmonica player ever"). L'album devient à sa sortie le premier disque de John Lee Hooker à entrer dans les charts, atteignant la 73e place aux États-Unis en février 1971. Hooker N' Heat se réuniront à nouveau en 1978 pour une tournée, dont sera tiré l'album live Hooker'n'Heat, live at the Fox Venice Theatre, sorti en 1981 sur Rhino Records.

Peu après ces sessions, Alan Blind Owl Wilson est retrouvé mort d'une overdose de somnifères près de la maison de Bob Hite à Topanga Canyon. Souffrant d'une dépression aggravée par son manque de succès auprès des femmes et ses craintes concernant la dégradation de l'environnement, ma Wilson avait déjà tenté de se suicider en jetant son van hors de la route. Le décès d'Alan Wilson, âgé de seulement 27 ans, précède de quelques semaines ceux de Janis Joplin et Jimi Hendrix.

Canned Heat poursuit néanmoins son existence, en multipliant les tournées. Le 5 avril 1981, le groupe connaît un nouveau drame avec la disparition de Bob Hite. Sombrant dans une phase auto-destructrice avec la disparition d'Alan et l'engouement populaire pour les discothèques, Bob Hite tenta de prendre une ampoule d'héroïne (qu'il n'avait jamais essayé) qui, cumulée aux autres drogues a causé sa mort par overdose après un concert. Fito était présent, et l'avait pourtant mis en garde.

Le 20 octobre 1997, Henry Vestine est mort à Paris après une tournée européenne. Bien qu'il ait été le plus drogué de tous les membres, et peut-être même de toute l'histoire du Blues, ce sont l'alcool et le tabac qui l'ont tué.

Pour Canned Heat, l'alcool fort et les drogues dures sont interdits au sein du groupe. Ceux-ci ont toujours provoqué des changements de musiciens dans le "Line-Up". Henri n'a fait qu'aller et venir...

En dépit de ces décès prématurés et tendances assorties de musical, Canned Heat a survécu sous la conduite de Fito de la Parra.

English :

Canned Heat is a blues-rock/boogie rock band that formed in Los Angeles, California, USA, in 1965. The group has been noted for its own interpretations of blues material as well as for efforts to promote the interest in this type of 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 Monterey and Woodstock, at the end of the 1960s the band acquired worldwide fame with a lineup consisting of Bob Hite, vocals, Alan Wilson guitar, harmonica and vocals, Henry Vestine (or Harvey Mandel) on lead guitar, Larry Taylor on bass, and Adolfo "Fito" de la Parra on drums.

The music and attitude of Canned Heat afforded them 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 and they were able to deliver on stage electrifying performances of blues standards and their own material and occasionally to indulge into lengthier 'psychedelic' solos. Two of their songs - "Going Up the Country" and "On the Road Again" - became international hits; both were re-workings of obscure blues. At the time all their albums were released for worldwide distribution.

Since the early 1970s numerous personnel changes have occurred and today, in the fifth decade of the band's existence, Fito de la Parra is the only member from the "classic" 1960s lineup. He has written a book about the band's career. Larry Taylor, whose presence in the band has not been steady, is the other surviving member from the earliest lineups. Harvey Mandel, Walter Trout and Junior Watson are among the guitarists who gained fame for playing in later editions of the band. British blues pioneer John Mayall has frequently found musicians for his band among former Canned Heat members.

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 comprised Bob Hite as vocalist, Al 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 Alan Wilson) stepped in to replace Perlowin, and Ron Holmes agreed to sit in on drums until they could find a permanent drummer.

Another of Bob's friends, Henry Vestine (who had been expelled from Frank Zappa's Mothers of Invention for excessive drug use), asked if he could join the band and was accepted while keeping Edwards on temporarily. Soon Edwards departed (he went on to form the Stone Poneys with 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, or pianist Elmo Hope and had also collaborated with black soul/pop artists such as Shirley Ellis and Dobie Gray.

Producer Johnny Otis recorded the band's first (unreleased) album in 1966 with the ensemble of Hite, Wilson, Cook, Vestine, and Brotman; but the record was not actually released until 1970 when it appeared as Vintage Heat, released by Janus Records. Otis ran the board for a dozen tracks, including two versions of "Rollin' and Tumblin'" (with and without harmonica), "Spoonful" by Willie Dixon, and "Louise" by John Lee Hooker all from his studio off of Vine Street in Los Angeles. Over a summer hiatus in 1966 Stuart Brotman signed a union contract with an Armenian belly-dancer and soon his interests in exotic music prompted him to form the world-music band Kaleidoscope with David Lindley and Chris Darrow, effectively leaving Canned Heat. His first replacement, Mark Andes, 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.

In this format (Hite, Wilson, Vestine, Taylor, Cook) the band started recording in April 1967 for Liberty Records. "Rollin’ and Tumblin’" backed with "Bullfrog Blues" 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 #76 on the Billboard chart.

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 Magazine 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 place later in a boxed CD set in 1992. Heat is also included on an album called Early LA.

Canned Heat also began to garner their notoriety as "the bad boys of rock" for being jailed in Denver, Colorado after a Denver 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 Fito 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 Fito refers to as the classic and perhaps best known Canned Heat line-up, who together recorded some of the bands 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 1950's composition by Floyd Jones. 'On the Road Again' became the band's break-out song and was a worldwide success, becoming a number one hit in most markets and finally put a blues song on the top charts. The album also included a twelve-minute version of "Fried Hockey Boogie", (credited to Larry Taylor, but rather obviously 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 tune inspired by the drug abuse of an acquaintance), became one of their most enduring songs and the first “anti-drug” song of the decade. Although not featured on the album's artwork, this was the first Canned Heat Album to have featured drummer Fito de la Parra.

With this success Skip, John and new associate Gary Essert leased a Hollywood club they named the Kaleidoscope on Sunset Boulevard east of Vine in which Canned Heat essentially became the house band; hosting others such as Jefferson Airplane, the Grateful Dead, Buffalo Springfield and Sly & The Family Stone.[8] 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 TV 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" as it rose to #1 in both countries and practically in all of Europe.

In October the band released their third album, Living the Blues, which included their best known song, "Going Up the Country". Alan Wilson's incarnation of Henry Thomas’s "Bull-doze Blues" was almost a note-for-note copy of the original, down to Thomas's instrumental break on the quills which Jim Horn duplicated on flute. Wilson rewrote the lyrics with a simple message that caught the “back-to-nature” attitude of the late ‘60s. The song went to #1 in 25 countries around the world (#11 on the U.S national chart) and would go on to become the unofficial theme song of the Woodstock Festival as captured 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 would find later 1971 release with the deceptive title, Live At Topanga Corral (later renamed Live at the Kaleidoscope), under Wand Records; as Liberty Records didn’t want to release a live album at the time and manager Skip Taylor did not want a lawsuit. The band would end 1968 in a big way at a New Year's show in L.A.'s Shrine Auditorium 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 wrote: “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 Alan 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, Henry 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 line-up 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 most famous 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.

Future Blues

Before their European tour in early 1970, the band recorded Future Blues, an album containing five original compositions and three covers. A Wilbert Harrison song Let's Work Together was the single chosen for release in Europe to coincide with the tour. At the band's insistence the US 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 bands only top ten 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 Alan 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 #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 relocated to Laurel Canyon) and was followed by Harvey Mandel.

With Taylor and Mandel gone, Henry Vestine returned on guitar, accompanied by bassist Antonio de la Barreda who had played with Fito 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 Alan 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 #73 in February 1971. Hooker N' Heat would unite again in 1978 and record a live album at L.A.'s Fox Venice Theatre, 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, the eccentric Alan "Blind Owl" Wilson, who had always suffered from depression, was said by some to have attempted suicide by driving his van off the road near Bob 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 with his increasing environmental concern over the deteriorating health of the earth; all themes which were often reflected in his lyrics. On September 3, 1970, just prior to leaving for a festival in Berlin, the band was shattered when they learned of Alan Wilson's death by barbiturate overdose; found on a hillside behind Bob Hite’s Topanga home. Believed by Fito de la Parra and other members of the band to have been a suicide, Wilson died at the age of 27, just weeks before the deaths of Janis Joplin and Jimi Hendrix.

Joel Scott Hill, who had previously played with The Strangers and later Moby Grape was recruited to fill the void left by Alan 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, Holland for the VPRO television program Piknik and the following summer they appeared at the Turku Festival in Finland. These performances were recorded, but 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 Bob Hite’s vocal duet with Little Richard on the Skip Taylor written track, "Rockin’ with the King" featuring the guitar playing of both Henry Vestine and Joel Scott Hill.

This line-up 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 Bob 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 Bob Hite's brother Richard Hite on bass. This "New Age" line-up recorded what would become the last album for Liberty/United Artists Records, The New Age, released in 1973. This album featured the popular biker themed anthem written by James Shane, entitled "The Harley-Davidson Blues". The era of the late-sixties was changing; but nonetheless the band embarked on another European Tour, in which they recorded a session with Memphis Slim in Paris, France 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 can be seen on the DVD release of Canned Heat Live at Montreux released in 2004.

Met with hard times, Fito 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 1974. Produced by Roger Hawkins and Barry Beckett this album had a different sound and featured the Muscle Shoal 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 long time 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, but drugs and heavy drinking had taken their toll. Even though an album was recorded in 1974 (featuring some collaboration from former member Harvey Mandel); Atlantic had ended their relationship with Canned Heat before it could be released and The Ties That Bind, did not see the light of day until decades later in 1997.

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; much to the disapproval of Henry 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. Taylor, however, quickly departed 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" line-up recorded the 1977 album, Human Condition. Despite the appearance of the Chambers Brothers on the album, it was met with very little success; largely due to the growing popularity of Disco music in the late 70s. Before long, more arguments ensued and Mark Skyer, Chris Morgan and Richard Hite all quit the band. The Bear promptly hired a new bass player named 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 Bob on many of the arrangements during their 1976 Texas Bicentennial Comeback Tour that same summer. Richard 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 same year but still returned periodically to fill in as a favor to Hite while the band struggled to find permanent members amidst heavy drinking and drug use. This effectively reduced the band's members to just The Bear and Fito.

The popularity of the blues genre rose in the late 70s with the release of The Blues Brothers movie starring Dan Aykroyd and John Belushi. During this time Canned Heat drummer Fito de la Parra had bought into the partnership of an East Hollywood recording studio at which he was again working with former bandmate Larry "The Mole" Taylor. Taylor had been associating with virtuoso guitar player Mike "Hollywood Fats" Mann and virtuoso piano player 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 The Mole.

The Burger Brothers played the 10th 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 Henry Vestine once again made his return to Canned Heat, with The Bear and Fito 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 hellacious 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 The Bear 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.

The death of frontman Bob "The Bear" Hite was a devastating blow that most thought would end the career of Canned Heat; however Fito de la Parra kept the band alive and would lead it back into prosperity over the next few decades. An Australian tour had been set up before The Bear's death and harmonica player Rick Kellog had joined to finish off the Kings of the Boogie album. This first incarnation of Canned Heat without Bob Hite was nicknamed the "Mouth Band" by Henry 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 Henry Vestine got into a brawl with Ernie Rodriguez and was once again out of the band; this time replaced by talented guitarist Walter Trout. After a tour with John Mayall, as the production for "The Boogie Assault" continued on, Fito 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 Henry Vestine was once again back in the band and he brought with him new musical talent from Oregon in James Thornbury (slide guitar and lead vocals) and Skip Jones (Bass). They were dubbed the "Nuts and Berries" band by Fito, due to their love of organic food. It wasn't 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 Harvey 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 female 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 Fito 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 10 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. 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 Henry Vestine died in Paris, France following the final gig of a European tour.

Canned Heat's popularity has endured in some European countries and Australia. In Belgium they have a particularly devoted following thanks in great part to Walter de Paduwa, aka Dr. Boogie, considered by the band as their "official historian". He has assisted Fito de la Parra in compiling and producing, The Boogie House Tapes Vol. 1 in 2000, The Boogie House Tapes Vol. 2 in 2004, and Dr. Boogie Presents Rarities from the Bob Hite Vaults in 2008; all collected from unreleased and rare Canned Heat recordings. Dr. Boogie's weekly Sunday evening radio show on Radio Classic 21, has for over a decade invariably started with a Canned Heat song.

Canned Heat’s recent studio albums include Boogie 2000 (1999), and Friends In The Can (2003), which features various guests including John Lee Hooker, Taj Mahal, Walter Trout, Corey Stevens, Roy Rogers, Harvey Mandel, Larry Taylor and Henry Vestine. Eric Clapton and Dr. John made guest appearances on the Christmas Album (2007).

By the year 2000 Robert Lucas had departed and the lineup was completed by John Paulus, Dallas Hodge (guitar) and Stanley Behrens (sax, flute). Lucas returned to Canned Heat in late 2005 but left again in the fall of 2008. He died November 23, 2008 at a friend’s home in Long Beach, Calif, aged 46; the cause was an apparent drug overdose. From late 2008 to the Spring of 2010 did the lineup include Dale Spalding (guitar, harmonica and vocals), Barry Levenson (lead guitar), Greg Kage (bass), and classic lineup hold-over and band leader Adolfo "Fito" de la Parra on drums. Harvey 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. The current touring band thus consists of Dale Spalding, "Fito" de la Parra, Larry Taylor and Harvey Mandel.

In July 2007, a documentary, Boogie with Canned Heat: The Canned Heat Story, was released, as was music historian Rebecca Davis Winters' biography of Alan Wilson, "Blind Owl Blues".

Former bassist Antonio De La Barreda died of a heart attack on February 19, 2009.

Collaborations :

Canned Heat have collaborated with many blues artists, recording and helping them to regain some notoriety. Among them notable names are:

* John Lee Hooker: in 1971 Canned Heat backed John Lee Hooker on the album Hooker'n'Heat. In 1978 a joint performance was recorded live and released as Hooker'n'Heat, live at the Fox Venice Theatre (1981). In 1989 Canned Heat (and many others) guested on John Lee Hooker's album The Healer.

* Sunnyland Slim: in the spring of 1968, Al Wilson, Bob Hite, and Fito de la Parra took a cab whose driver turned out to be Sunnyland Slim. Bob and Alan convinced him to go in the studio again and cut an album for a sublabel of Liberty Records. The album, Slim’s Got His Thing Goin’ On featured tracks with Slim fronting Canned Heat and Hite acted as co-producer. Slim thanked them by playing the piano on "Turpentine Moan" for the album Boogie with Canned Heat.

* Memphis Slim: in Paris, on September 18, 1970 Canned Heat went into the studio at the request of French music producer Phillipe Rault to record with Memphis Slim. Three years later and after an overdubbing session with the Memphis Horns of Stax Records fame, Memphis Heat was finally released on the French label, Barclay (and was re-released in 2006 on Sunnyside Recordings).

* Clarence "Gatemouth" Brown: in 1973 Canned Heat went again in France to record for Rault, this time with Clarence “Gatemouth” Brown. The sessions did not work out as planned but the album was released as Gate’s on the Heat and another track appeared in 1975 on his album Down South in the Bayou Country. Later they joined him for a set at the Montreux Jazz Festival. A DVD of the performance was released.

* Javier Batiz: during the summer of 1969 Fito de La Parra arranged in LA a recording session for Mexican R&B star Javier Batiz with whom he had played before moving north and joining Canned Heat. His fellow band mate Larry Taylor took part in the project and also three musicians who in later years would join the band: Tony de la Barreda (bass), Ernest Lane (piano) and Clifford Solomon (sax). The recording was released some 30 years later as The USA Sessions.

* Albert Collins: in early 1969 Canned Heat met Albert Collins after a gig and advised him to move to L.A. in order to boost his career; there they found him an agent and introduced him to executives for UA. In appreciation, Collins’ first record title for UA became Love Can Be Found Anywhere, taken from the lyrics of "Fried Hockey Boogie".

* Henry Vestine: a recording project from 1981 has been released more than twenty years later under Henry Vestine's name as I Used To Be Mad (but Now I am Half Crazy). The musicians on the album are the Canned Heat members at that time: Henry Vestine (guitar), Mike Halby (vocals, guitar), Ernie Rodrigues (vocals, bass), Ricky Kellogg (vocals, harmonica) and Fito De La Parra (drums).

* Fito de La Parra and Walter de Paduwa, aka Dr. Boogie, have compiled an album of blues selected from Bob Hite's collection Rarities from the Bob Hite Vault, Sub Rosa SRV 271. Included are tracks by a dozen artists such as Pete Johnson, Johnny Otis, Clarence Brown, Otis Rush, Etta James and Elmore James.

  Source : WIKIPEDIA

Going up the country

Let's Work Together

Shake and Boogie

Live at Woodstock 1969

On The Road Again

Poor Moon

Human Condition, live in Kralingen 1970

Bullfrog Blues (Monterey '67)

Canned Heat interviewé à l'aéroport de Sydney par Jeune Pritchard pour ABC Australie le 10 Avril 1972

SITE OFFICIEL : http://www.cannedheatmusic.com/

Alain Bashung est le fils d'une mère d'origine bretonne, ouvrière dans une usine de caoutchouc de Boulogne-Billancourt, et d'un père algérien kabyle, qu'il n'a jamais connu. Sa mère est remariée à un boulanger travailleur de nuit et Alain Bashung est envoyé à l'âge d'un an dans les environs de Strasbourg, à Wingersheim, chez les parents de son nouveau beau-père. Il passe ainsi son enfance à la campagne dans un milieu plutôt conservateur. À cinq ans, il découvre la musique, notamment celle de Kurt Weill, grâce à la pratique de l'harmonica. Il est en outre enfant de chœur à Wingersheim, où il pratique aussi le basket-ball et le cyclisme. À l'école, Alain est un enfant sérieux.

Il retrouve Paris en 1959, où il découvre les grandes figures de la chanson française puis, à la radio, le rock américain de Gene Vincent, Buddy Holly ou Elvis Presley. Parallèlement à ses études de comptable qu'il abandonne rapidement, il monte un groupe éphémère avec des copains, les Dunces, au registre oscillant entre folk et rockabilly.

Un début difficile

Avec des musiciens rencontrés à Royan, Bashung forme un nouveau groupe qui écume les restaurants, les hôtels de province et surtout les bases américaines. Il commence difficilement sa carrière avec ses premiers 45 tours à 19 ans, comme Pourquoi rêvez-vous des États-Unis ? en 1966. Un autre de ses premiers vinyles, sorti en 1968 et quasiment introuvable, s'intitule Les Romantiques.

Il sort ainsi une douzaine de singles, dont un sous le pseudonyme de David Bergen, et deux autres, en 1971/1972 sous le pseudonyme d'Hendrick Darmen compositeur et interprète du groupe Monkey Bizness. Il compose aussi quelques titres pour des vedettes de l'époque comme Noël Deschamps, mais ne parvient pas à rencontrer le succès.

En 1973, il interprète Robespierre dans la comédie musicale La Révolution française de Claude-Michel Schönberg. Il rencontre Dick Rivers, pour qui il compose (notamment le rock Marylou) et qu'il produit.

Le succès

Il rencontre le réalisateur Andy Scott et l'auteur Boris Bergman, avec qui il signe en 1977 son premier album innovant, Romans photos, qui est un échec commercial dans le contexte de la déferlante punk.

Il poursuit en 1979 avec Roulette russe, un album très sombre et plus rock. En 1980 sort le titre Gaby, oh Gaby, avec lequel Bashung connaît enfin le succès. Il confirme son talent auprès de la critique musicale et du public en 1981, avec son album très rock Pizza qui lui permet, avec le titre Vertige de l'amour, d'entamer une tournée dans de grandes salles, notamment à l'Olympia à Paris.

En 1982, Bashung collabore avec Serge Gainsbourg sur l'album Play blessures. Cet album est une rupture voulue par Bashung après le succès énorme et inattendu de "Gaby", dont il semble vouloir se démarquer ("J'dédie cette angoisse à un chanteur disparu, mort de soif dans le désert de "Gaby", respectez une minute de silence, faites comme si j'étais pas arrivé...", chante-t-il sur "J'croise aux Hébrides"). Un disque sombre, torturé, difficile d'accès, et qui sera finalement un échec commercial. En 1983, il publie un album très original et sombre, Figure imposée, qui restera également confidentiel. En 1985, il écrit des titres pour l'association SOS Racisme.

En 1986, il sort Passé le Rio Grande. Il retrouve Boris Bergman et renoue avec le succès avec le titre "SOS Amor".

En 1989, l'album Novice avec ses sonorités New wave et son single Bombez !, marque sa première collaboration officielle avec le parolier Jean Fauque et sa dernière avec Boris Bergman, co-auteur de ses premier succès, qui, dans diverses interviews, notamment dans Rock & Folk à la sortie de Fantaisie militaire, ne cache pas une certaine amertume. "Novice" fait écho à la noirceur de "Play Blessures".

La consécration

En 1991, il poursuit sa collaboration avec Jean Fauque, pour Osez Joséphine, qui contient aussi quelques reprises de classiques rock américains. Il élargit son public et l'album se vend à 350 000 exemplaires, et le titre Osez Joséphine est son premier vrai tube depuis Vertige de l'amour. Sur le même album, on retrouve le titre Madame rêve, qui devient rapidement un titre incontournable de son répertoire, et laisse présager ses évolutions artistiques à venir.

En 1992, il reprend Les Mots bleus de Christophe, dans une compilation pour la recherche sur le SIDA. En 1994, il sort Chatterton, album qu'il qualifie lui-même de Country New Age. Pour ce disque, il collabore avec divers artistes (Sonny Landreth, Ally McErlaine, Link Wray, Marc Ribot et Stéphane Belmondo). Le titre Ma petite entreprise (qui serait selon certains une métaphore de son activité sexuelle, démenti formellement par Bashung lui-même) est un nouveau succès pour Bashung. Il entame dans la foulée une tournée de deux ans qui aboutit à un double album live en 1995, Confessions publiques.

À partir de 1994, Bashung se consacre davantage à sa carrière de comédien débutée en 1981, notamment dans Ma sœur chinoise de Alain Mazars.

Après avoir enregistré en duo City avec Brigitte Fontaine sur son album Les Palaces, il revient à la musique en 1998 avec Fantaisie militaire, pour lequel il collabore avec Jean Fauque, Rodolphe Burger, Les Valentins et Jean-Marc Lederman. Adrian Utley, guitariste du groupe anglais Portishead, est également présent sur l'album. Les arrangements de cordes, qui apportent beaucoup à l'esprit du disque, sont l'œuvre de Joseph Racaille. Le premier single issu de cet opus est La nuit je mens. Il reçoit pour cet album trois victoires de la musique en 1999. En 2005, à l'occasion de la vingtième édition des Victoires de la Musique, Fantaisie Militaire est consacré meilleur album de ces vingt dernières années. Cet album est un succès critique et commercial pour Bashung.

En 2000, il sort Climax, un double album compilation dans lequel il revisite certains de ses plus grands titres, dont Volontaire en duo avec Noir Désir.

Il sort en 2002 L'Imprudence, album acclamé par la critique et considéré comme le plus sombre de sa discographie. Disque exigeant, jugé parfois austère, plus « parlé » que chanté, avec des arrangements de cordes et d'électro, inspiré, selon Bashung, des musiques des vieux films en noir et blanc. Il enregistre la même année le Cantique des cantiques avec son épouse, la comédienne et chanteuse Chloé Mons : ce titre avait été écrit à l'occasion de leur mariage en 2001, sur une musique de Rodolphe Burger, à partir d'une nouvelle traduction du Cantique des cantiques de la Bible par l'écrivain Olivier Cadiot. En 2003 il participe à l'album consacré à Léo Ferré en interprétant la chanson Avec le temps et écrit la préface d'un ouvrage qui retrace le parcours artistique de cet artiste.

En 2004, paraît un double album live, La Tournée des grands espaces. En 2006, il enregistre la chanson Que reste-t-il de nos amours de Charles Trenet en duo avec Françoise Hardy pour son disque Parenthèses.... En juin 2006, il investit la Cité de la Musique à Paris qui lui donne carte blanche. Il y donne une série de représentations en s'entourant, pour l'occasion, d'une pléiade d'artistes : Christophe, Dominique A, Rodolphe Burger, Arto Lindsay. Début 2007, il sort de sa pause et participe à la tournée Les Aventuriers d'un autre monde avec Jean-Louis Aubert, Cali, Daniel Darc, Richard Kolinka et Raphaël. Il s'offre également deux soirées à la Salle Pleyel de Paris et incarne Jack L'éventreur dans la chanson Panique Mécanique sur l'album La Mécanique du cœur de Dionysos.

Alain Bashung apparaît dans J'ai toujours rêvé d'être un gangster de Samuel Benchetrit où il joue une scène avec le chanteur belge Arno.

En 2008, il chante L.U.V. en duo avec Daniel Darc sur l'album de celui-ci, Amours suprêmes. Il proposera également une création, L'Homme à tête de chou, autour de Serge Gainsbourg. Le 24 mars 2008, Bashung sort l'album Bleu pétrole, collaborant notamment avec Gaëtan Roussel de Louise Attaque, Arman Méliès et Gérard Manset, dont il reprend la chanson Il voyage en solitaire qui conclut l'album. Il entame ensuite une tournée et est notamment programmé dans plusieurs festivals. Le 10 juin 2008, il commence une série de récitals à l'Olympia malgré une chimiothérapie en raison d'un cancer du poumon. Son parolier depuis 20 ans, Jean Fauque, a annoncé qu'un nouvel album pourrait voir le jour rapidement.

Alain Bashung a été promu Chevalier de la Légion d'honneur le 1er janvier 2009. Le 28 février 2009, il a remporté trois trophées lors des Victoires de la musique 2009 dont celui de l'interprète masculin de l'année. Bashung a décroché une autre Victoire très prestigieuse, celle de l'album de chanson pour Bleu pétrole, et sa tournée a été désignée meilleur spectacle de l'année. Avec onze récompenses obtenues au total au cours de sa carrière, il est devenu l'artiste le plus primé. Ce sacre fut l'occasion de sa dernière apparition publique puisqu'il dut annuler ses derniers concerts dans les jours qui suivirent.

Atteint d'un cancer du poumon depuis plus d'un an, et très affaibli, Alain Bashung meurt le 14 mars 2009 à l'hôpital Saint-Joseph à Paris, à l'âge de 61 ans.

Source : Wikipedia

The Sparkles then dissolved, but soon re-formed -- lineup changes were common at this time, but the core roster at the turn of the decade included Smith, Blakey, and guitarist Charlie Hatchet. In 1962 the group recorded its debut single, "U.T." (for "Untitled"), for the tiny Caron label. The record went nowhere, and when Blakey and Hatchet relocated to Lubbock to form the Raiders, Smith formed a new Sparkles lineup from scratch, recruiting singer/drummer Lucky Floyd, guitarist Donnie Roberts, and bassist Bobby Smith. This iteration of the band proved enormously popular on the west Texas club circuit, playing Lubbock clubs like the Music Box and the Swinger -- in 2000, no less than Joe Ely called them "the best rock & roll band in town" in a history of Lubbock music published in Texas Monthly.

After Stan Smith -- the last remaining founding member -- and Roberts resigned circa 1965, Floyd and Bobby Smith recruited guitarists Gary P. Nunn and Louie Holt and drummer Jimmy Marriot to form the definitive Sparkles lineup; with Roy Orbison drummer Larry Parks installed as producer, the group signed to the Hickory label to release the 1966 single "The Hip," a major hit in Austin, where by most accounts they were the most popular act among University of Texas fraternity members. Two more Hickory singles -- "Something That You Said" and "Jack and the Beanstalk" -- followed by year's end, and in 1967 the Sparkles recorded their masterpiece, "No Friend of Mine," an incendiary effort distinguished by Nunn's snarling guitar lead and Floyd's remarkably anguished vocal. (The song was later immortalized via inclusion on the first Nuggets box set.)

After one last Hickory single, "Hipsville 29 B.C.," Nunn and Holt quit the band, and Floyd, Smith, and Marriot soon after relocated to California, rechristening the band the Pearly Gate. According to legend, they were scheduled to perform at a benefit for Robert F. Kennedy the night of his assassination -- they also appeared on the television series Judd for the Defense before returning to Texas and restoring the Sparkles name. Future John Denver guitarist Steve Weisberg played in this final go-round. After Floyd returned to California to join the folk-rock group Red Wilder Blue, the Sparkles finally dissolved in 1972. ~ Jason Ankeny, All Music Guide