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Sonitus
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PostSubject: the most influential acts of all time   Tue Feb 16, 2010 12:35 am

i will start posting clips of artists who where somewhat influential on all those genres we listen to today/ ill post a brief history with every artist. post yours too cyclops

i ll start with a classic.

Throbbing Gristle:
First era: 1975 to 1981
Throbbing Gristle evolved from the performance art group COUM Transmissions, a group of performers centered around Genesis P-Orridge and Cosey Fanni Tutti. The final performance of COUM Transmissions in 1976 was the debut of Throbbing Gristle.
Throbbing Gristle's confrontational live performances and use of often disturbing imagery, including pornography and photographs of Nazi concentration camps, gave the group a notorious reputation. However the group always maintained that their mission was to challenge and explore the darker and obsessive sides of the human condition rather than to make attractive music. Throbbing Gristle pioneered the use of pre-recorded tape-based 'samples'[citation needed], and made extensive use of special effects to produce a distinctive, highly distorted background, usually accompanied by lyrics or spoken-word performances by Cosey Fanni Tutti or Genesis P-Orridge. Though they asserted they wanted to provoke their audience into thinking for themselves rather than pushing any specific agenda (as evidenced by the song "Don't Do As You're Told, Do As You Think" on Heathen Earth), Throbbing Gristle also frequently associated with the anarchist punk scene. They even appeared on the infamous Crass pamphlet Toxic Grafity, with a condensation of their own propaganda parody series, Industrial News.
Industrial Records was a record label established in 1976 by art/music group Throbbing Gristle.
The label gave a name to the industrial music genre.

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PostSubject: Re: the most influential acts of all time   Tue Feb 16, 2010 12:38 am

Genesis P-Orridge mara jew ragel man?
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PostSubject: Re: the most influential acts of all time   Tue Feb 16, 2010 12:39 am

ragel , mizewweg bit tfal ... imma kabbar sidru u sar kwazi mara imma ghandu zobb
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PostSubject: Re: the most influential acts of all time   Tue Feb 16, 2010 12:40 am

madman
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PostSubject: Re: the most influential acts of all time   Tue Feb 16, 2010 12:43 am

id diferenza tieghu bejn dak il video ta discipline dak nahseb xi 1978 u dan
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PostSubject: Re: the most influential acts of all time   Tue Feb 16, 2010 12:51 am

ostja kem kien adu zghir , tifel fta fuq
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PostSubject: Re: the most influential acts of all time   Tue Feb 16, 2010 1:59 am

Coil:
Coil were an English cross-genre, industrial experimental music group formed in 1982 by John Balance—later credited as "Jhonn Balance"—and his partner Peter Christopherson, aka "Sleazy".[1] The duo worked together on a series of releases before Balance chose the name Coil, which he claimed to be inspired by the omnipresence of the coil's shape in nature. Today, Coil are one of the most influential and best known industrial music groups.
The group's first official release as Coil was a 1984 12" titled How to Destroy Angels released on the Belgian Les Disque de Crepuscule's sublabel LAYLAH Antirecords. Following the 12"s success, Coil produced a series of three albums, Scatology, Horse Rotorvator and Love's Secret Domain, which met with little commercial success, but were praised as innovative due to their blend of industrial music and acid house.

Love's Secret Domain (abbreviated LSD) followed in 1991 as the next "proper" Coil album, although a few minor releases had been produced since Horse Rotorvator. LSD represents a progression in Coil's style and became a template for what would be representative of newer waves of post-industrial music, blended with their own style of acid house. Although the album was more upbeat, it was not intended as a dance record, as Christopherson explained "I wouldn't say it's a party atmosphere, but it's more positive.

Coil incorporated many exotic and rare instruments into their recordings and performances. The group expressed particular interest in modular synthesizers, including the Moog synthesizer.[25][26] Coil are among the few artists who have been granted permission to use the one-of-a-kind experimental ANS photoelectronic synthesizer (see ANS). Other instruments the group incorporated into their music included the theremin and electronic shakuhachi. During Coil's later period, marimba player Tom Edwards joined the group and performed on the live albums Live Two and Live Three, as well as on the studio album The Ape of Naples.
Coil utilized techniques such as the cut-up technique, ritual drug use, sleep deprivation, lucid dreaming, sidereal sound, granular synthesis, tidal shifts, John Dee-like methods of scrying, instrument glitches, SETI synchronization and the chaos theory.
Coil's expansive line-up led to an ever-evolving style not readily pigeonholed into a single genre. They worked in such genres as industrial, noise, ambient and dark ambient, neo-folk, spoken word, drone music, and minimalism, creating what Balance explicitly referred to as "magickal music".[9] Balance described the early Coil work as "solar" and the later work as "moon musick"
John Balance died on 13 November 2004 after having fallen from a second floor landing in his home

Coil's influence on electronic music has become more evident since the death of Balance with electronic musicians from all over the world collaborating on a series of tribute albums. Some notable artists who appeared on these albums are Alec Empire, Chris Connelly and K.K. Null (see ...It Just Is). Nine Inch Nails front man Trent Reznor has also expressed his influence by the group.[38] The track "At The Heart Of It All" (found on Scatology) later became the name of an Aphex Twin track on Nine Inch Nails remix album Further Down the Spiral. It is possible that Trent Reznor named the track as a reference to Coil, since Coil also provided remixes for Further Down the Spiral.

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PostSubject: Re: the most influential acts of all time   Tue Feb 16, 2010 2:05 am

nb: the snow is also considered the first intelligent techno track made
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PostSubject: Re: the most influential acts of all time   Tue Feb 16, 2010 11:03 am

Karlheinz Stockhausen (22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important (Barrett 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117) but also controversial (Power 1990, 30) composers of the twentieth and early twenty-first centuries. Another critic calls him "one of the great visionaries of 20th-century music" (Hewett 2007). He is known for his ground-breaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization.

Some of his notable compositions include the series of nineteen Klavierstücke (Piano Pieces), Kontra-Punkte for ten instruments, the electronic/musique-concrète Gesang der Jünglinge, Gruppen for three orchestras, the percussion solo Zyklus, Kontakte, the cantata Momente, the live-electronic Mikrophonie I, Hymnen, Stimmung for six vocalists, Aus den sieben Tagen, Mantra for two pianos and electronics, Tierkreis, Inori for soloists and orchestra, and the gigantic opera cycle Licht.
He died of sudden heart failure at the age of 79, on 5 December 2007 at his home in Kürten, Germany.

Since the mid-1950s, Stockhausen had been developing concepts of spatialization in his works, not only in electronic music, such as the 5-channel Gesang der Jünglinge (1955–56) and Telemusik (1966), and 4-channel Kontakte (1958–60) and Hymnen (1966–67). Instrumental/vocal works like Gruppen for three orchestras (1955–57) and Carré for four choirs and orchestras (1959–60) also exhibit this trait (Stockhausen Texte 2:71–72, 49–50, 102–103; Stockhausen 1989, 105–108; Cott 1973, 200–201). In lectures such as “Music in Space” from 1958 (Stockhausen Texte 1:152–75), he called for new kinds of concert halls to be built, "suited to the requirements of spatial music". His idea was
a spherical space which is fitted all around with loudspeakers. In the middle of this spherical space a sound-permeable, transparent platform would be suspended for the listeners. They could hear music composed for such standardized spaces coming from above, from below and from all points of the compass. (Stockhausen Texte 1:153)

Dutch composer Louis Andriessen acknowledged the influence of Stockhausen's Momente in his pivotal work Contra tempus of 1968 (Schönberger 2001). German composer Wolfgang Rihm, who studied with Stockhausen, was influenced by Momente, Hymnen, and Inori (Williams 2006, 382). Jazz musicians such as Miles Davis (Bergstein 1992), Cecil Taylor, Charles Mingus, Herbie Hancock, Yusef Lateef (Feather 1964; Tsahar 2006), and Anthony Braxton (Radano 1993, 110) cite Stockhausen as an influence.
Stockhausen was influential within pop and rock music as well. Frank Zappa acknowledges Stockhausen in the liner notes of Freak Out!, his 1966 debut with The Mothers of Invention.
Rick Wright and Roger Waters of Pink Floyd also acknowledge Stockhausen as an influence (Macon 1997, 141; Bayles 1996, 222). San Francisco psychedelic groups Jefferson Airplane and the Grateful Dead are said to have done the same (Prendergast 2000, 54); Stockhausen himself says the former band included students of Luciano Berio, and the Grateful Dead were "well orientated toward new music" (Texte 4, 505). Founding members of Cologne-based experimental band Can, Irmin Schmidt and Holger Czukay, both claim they studied with Stockhausen (Irmin Schmidt biography; Holger Czukay biography), and Schmidt is confirmed to have attended the 1965–66 Cologne Courses for New Music, though Czukay's name does not appear anywhere in the list of registrants (Texte 3, 196, 198, 200). German electronic pioneers Kraftwerk also say they studied with Stockhausen (Flur 2003, 228), and Icelandic vocalist Björk has acknowledged Stockhausen's influence (Heuger 1998, 15; Guðmundsdóttir 1996; Ross 2004, 53 & 55).
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PostSubject: Re: the most influential acts of all time   Tue Feb 16, 2010 4:20 pm

Possibly the most influential inventor of all time.

RAYMOND SCOTT










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PostSubject: Re: the most influential acts of all time   Tue Feb 16, 2010 4:50 pm

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PostSubject: Re: the most influential acts of all time   Tue Feb 16, 2010 4:53 pm

Memories of Raymond Scott
by Bob Moog

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PostSubject: Re: the most influential acts of all time   Tue Feb 16, 2010 11:22 pm

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"The project ideal is to express the content of various psycho-pathalogical conditions, especially schizophrenia, manic - depressive psychosis, mental retardation and paranoia. Information Overload supersedes normal, rational thought structures, forcing deviation into less restrictive mental procedures of so-called 'mental illness'. SPK is trying to be a voice for those individuals condemned to the slow decay of mental hospitals and chemical / electro / surgical therapy, without fetishising them into blatant entertainment product. 'SONIC FOR MANICS' aims to be a vehicle for sharing mental experiences through sound." - Discogs

"The group was formed when Revell (aka Operator, Oblivion, EMS AKS) met up with Neil Hill (aka Ne/H/il). They were both working at a psychiatric hospital when they became inspired by the manifesto of the German radical Marxist group known as the Sozialistisches Patientenkollektiv (SPK). The band also recruited two teenagers, David Virgin and Danny Rumour, who helped create the first recordings of SPK in 1979. The following words, inspired by the SPK manifesto, are used on one of the band's first recordings, Slogun (1979): "Kill, Kill, Kill for inner peace/ Bomb, Bomb, Bomb for mental health/ Therapy through violence!". Dominik Guerin (aka Tone Generator) joined in 1980, and was later to concentrate on the band's notorious visual content. Guerin and Revell recorded the first album, Information Overload Unit (1981), in a Vauxhall squat (during the Brixton riots in London) with the help of Revell's brother Ash (aka Mr.Clean) and Wilkins (guitar/bass). After the recording of SPK's second album, Leichenschrei ("The Scream of the Corpse")(1982), they were joined by Sinan Leong, who had initially auditioned for a planned SPK side-project, Dance Macabre. She and Revell were later to marry. In the first week of February 1984, just short of his 28th birthday, Neil Hill committed suicide two days before his wife Margaret Nikitenko died as a result of complications from anorexia.
Other musicians working with SPK included Danny Rumour and David Virgin of Sekret Sekret, who were on the band's first recordings that were done in 1979, James Pinker and Karel van Bergan, who toured the U.S. in 1982 with Guerin and Revell, Brian Williams of Lustmord, John Murphy of Forresta di Ferro (better known as Kraang) and Derek Thompson, who later had a brief stint in The Cure and went on to record as Hoodlum Priest. Thompson claims that he left SPK when founder member Revell wanted to take the band in what Thompson perceived as a more commercial direction." - Wiki

SPK DIED WHEN METAL DANCE WAS RELEASED.

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PostSubject: Re: the most influential acts of all time   Tue Feb 16, 2010 11:27 pm

surgical penis klinik for sexual performance

slogun tajba wisq taghhom..
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PostSubject: Re: the most influential acts of all time   Tue Feb 16, 2010 11:42 pm

stenn waħda, jiġifieri SPK waħda mill-"most influential acts of all time" .... mmmm, qed ngħixu f'universi differenti mela
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PostSubject: Re: the most influential acts of all time   Tue Feb 16, 2010 11:43 pm

meta tara min ipostja , trid talaq halqek u tifem fabio
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PostSubject: Re: the most influential acts of all time   Tue Feb 16, 2010 11:53 pm

jista jkun, u l-univerz tieghi isu hafna ahjar min tieghek, hmmm

spk li ghandhom huma naqa underrated
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PostSubject: Re: the most influential acts of all time   Wed Feb 17, 2010 12:00 am

Lee "Scratch" Perry (born Rainford Hugh Perry, on 20 March 1936, in Kendal, Jamaica) is a musician, who has been highly influential in the development and acceptance of reggae and dub music in Jamaica and overseas. He employs numerous pseudonyms, such as Pipecock Jackxon and The Upsetter.
In the early 1970s, Perry was one of the producers whose mixing board experiments resulted in the creation of dub. In 1973, Perry built a studio in his back yard, The Black Ark, to have more control over his productions and continued to produce notable musicians such as Bob Marley & the Wailers, Junior Byles, Junior Murvin, The Heptones, The Congos and Max Romeo. With his own studio at his disposal, Perry's productions became more lavish, as the energetic producer was able to spend as much time as he wanted on the music he produced. Virtually everything Perry recorded in The Black Ark was done using basic recording equipment; through sonic sleight-of-hand, Perry made it sound unique. Perry remained behind the mixing desk for many years, producing songs and albums that stand out as a high point in reggae history.
fter meeting Andrew W.K. at SXSW in 2006, Perry invited him to co-produce his forthcoming album Repentance. The album, released on the 19th of August 2008, on Narnack Records, features several guest artists including Moby, Ari Up of The Slits, producer Don Fleming, drummer Brian Chippendale of Lightning Bolt, bassist Josh Werner of Matisyahu, and adult entertainer Sasha Grey.
In 2008, Perry reunited with producer Adrian Sherwood on an album called The Mighty Upsetter. Unlike the dancehall/pop oriented Repentance, The Mighty Upsetter returned to the dub/reggae styles for which Perry is known. In 2009 he collaborated with Dubblestandart on their Return from Planet Dub album.

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kemm kien tajjeb live ostja is sena l ohra e?
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PostSubject: Re: the most influential acts of all time   Wed Feb 17, 2010 3:45 pm

Parliament & Funkadelic's George Clinton

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PostSubject: Re: the most influential acts of all time   Thu Feb 18, 2010 10:54 am

Kraftwerk ("power plant" or "power station", German pronunciation: [ˈkʁaftvɛɐk]) is a pioneering and a highly influential electronic music band from Düsseldorf, Germany. The signature Kraftwerk sound combines driving, repetitive rhythms with catchy melodies, mainly following a Western classical style of harmony, with a minimalistic and strictly electronic instrumentation. The group's simplified lyrics are at times sung through a vocoder or generated by computer-speech software. Kraftwerk were one of the first groups to popularize electronic music. In the early to late 1970s and the early 1980s, Kraftwerk's distinctive sound was revolutionary, and it has had a lasting effect across many genres of modern music
Kraftwerk were formed in 1970 by Florian Schneider (flutes, synthesisers, electro-violin) and Ralf Hütter (electronic organ, synthesisers). The two had met as students at the Düsseldorf Conservatory in the late 1960s, participating in the German experimental music scene of the time, which the British music press dubbed "Krautrock"

Kraftwerk's music has directly influenced many popular artists from many diverse genres of music.[47]
Kraftwerk's "Trans Europe Express" sampling can be heard in the music of electronic music successes such as Gary Numan, Depeche Mode, and Soft Cell. Kraftwerk would also go on to influence other forms of music such as hip hop, house, and jungle music. Most notably, "Trans Europe Express" was interpolated into "Planet Rock" by Afrika Bambaataa & The Soul Sonic Force, one of the earliest electro hits, with Planet Rock having the exact same beat as Kraftwerk's song "Numbers" even though it came out over ten years before. Kraftwerk are regarded as creators of electro genre. [48] In 1982, Kraftwerk's pioneering work in incorporating looping and sampling would become commonplace in hip hop and many other genres of music, most notably Techno. Detroit-Techno was created by three young black musicians from Detroit, often referred to as the 'Belleville three' (Juan Atkins, Kevin Saunderson & Derrick May), who fused the repetitive melodies of Kraftwerk with the booty-shaking rhythms of funk.[49]
Joy Division and New Order were heavily influenced by Kraftwerk. Joy Division frontman Ian Curtis was a fan of Kraftwerk, and showed his colleagues records that would influence both groups. New Order's song "Your Silent Face" has some similarities with "Europe Endless," the first song on Trans-Europe Express, and had a working title of KW1, or Kraftwerk 1. New Order also recorded a song called "Krafty" that appeared as a single and on the album Waiting for the Sirens' Call.
There's a song by David Bowie called V-2 Schneider, which is a tribute to Florian Schneider. It was first released as the B-side to the "Heroes" single, and also features on the album "Heroes".
While touring after the release of Astronaut in 2005, Duran Duran would signify its arrival on stage by playing "The Robots". This track appeared on the album Nick Rhodes and John Taylor present Only after Dark (2006). When Duran Duran played Broadway in November 2007, and the Lyceum in London in December 2007, they performed "Showroom Dummies" as part of its electro set.[citation needed]
Kraftwerk have also influenced Celtic fusion music, most notably in the use of electronic sounds to complement traditional instruments in the music of bands such as the Peatbog Faeries; their fourth album was called Croftwork and featured the track "Trans-Island Express".[citation needed]
In their song "Sunshine", Jay-Z and Foxy Brown used the riff from Kraftwerk's song "The Man Machine".
Electronic musician KOMPRESSOR has cited Kraftwerk as an influence. Kraftwerk is also mentioned in the song "RAPPERS WE CRUSH" by KOMPRESSOR and MC Frontalot ("I hurry away, get in my Chrysler. Oh the dismay! / Someone's replaced all of my Backstreet Boys with Kraftwerk tapes!").
Franz Ferdinand were inspired by Kraftwerk's song "The Model" when writing their song "Walk Away". The similarity is especially heard in the intro of the song.
Latin pop songwriter Richard Daniel Roman's early work was influenced by Kraftwerk.
Vince Clarke of Erasure, Yazoo, and Depeche Mode, is also a notable disco and Kraftwerk fan and is influenced by their music.
Kraftwerk also influenced Depeche Mode, as is some of their album art, such as Behind The Wheel - EP.
Simple Minds covered the Kraftwerk track Neon Lights and played it live during their Graffiti Soul tour of 2009.
Andy McCluskey and Paul Humphreys, founder members of OMD, have stated that Kraftwerk was a major influence on their early work, [50] and covered Neon Lights on their 1991 album, Sugar Tax [51].

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PostSubject: Re: the most influential acts of all time   Sat Feb 27, 2010 5:15 pm

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HASRA MIET TA' 52 Sad
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PostSubject: Re: the most influential acts of all time   Sat Feb 27, 2010 7:09 pm

kiku kellek tibda qas tieqaf...

Tangerine Dream
Tangerine Dream is a German electronic music group founded in 1967 by Edgar Froese. The band has undergone many personnel changes over the years, with Froese being the only continuous member. Drummer and composer Klaus Schulze was briefly a member of an early lineup, but the most stable version of the group, during their influential mid-1970s period, was as a keyboard trio with Froese, Christopher Franke, and Peter Baumann. Early in the 1980s, Johannes Schmoelling replaced Baumann, and this lineup, too, was stable and extremely productive.
Tangerine Dream's early "Pink Years" albums had a pivotal role in the development of Krautrock. Their "Virgin Years" and later albums became a defining influence in the genre known as New Age music, although the band themselves disliked the term.
Although the group has released numerous studio and live recordings, a substantial number of their fans were introduced to Tangerine Dream by their film soundtracks, which total over sixty and includes Sorcerer, Thief, The Keep, Risky Business, Firestarter, Legend, Near Dark, and Miracle Mile.

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Vangelis
Evangelos Odysseas Papathanassiou (born March 29, 1943; Greek: Ευάγγελος Οδυσσέας Παπαθανασίου IPA: [evˈaɲɟelos oðiˈseas papaθanaˈsiu]), is a Greek composer of electronic, progressive, ambient and orchestral music, under the artist name Vangelis (a diminutive of Evangelos; pronounced /vænˈɡɛlɨs/ in English). He is best known for his Academy Award winning score for the film Chariots of Fire, and scores for the films Blade Runner and 1492: Conquest of Paradise.
Vangelis began his professional musical career working with several popular bands of the 1960s such as The Forminx and Aphrodite's Child, with the latter's album 666 going on to be recognized as a psychedelic "classic". In the 1970s, Vangelis formed a musical partnership with Jon Anderson, the lead singer of progressive rock band Yes, and the duo went on to release several albums together under the alias Jon & Vangelis. Towards the end of the 1970s, Vangelis composed music scores for several animal documentaries, including Opéra sauvage, the success of these scores moved Vangelis into the eyes of well known filmmakers. In 1981, he composed the score for the Oscar-winning film Chariots of Fire. The soundtrack's single, "Titles", won Vangelis the Academy Award for Best Original Music Score and also reached the top of the American Billboard.
In a career spanning over 47 years, writing and composing more than 40 albums, Vangelis is generally regarded by music critics as one of the greatest composers of electronic music of all time

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Jean Michel Jarre
Jean-Michel André Jarre (born 24 August 1948) is a French composer, performer and music producer. He is regarded as a pioneer in the electronic, synthpop, ambient and New Age genres, as well as an organiser of outdoor spectacles of his music which feature lights, laser displays and fireworks.
Jarre was raised in Lyon by his mother and grandparents, and trained on the piano. From an early age he was introduced to a variety of art forms, including those of street performers, jazz musicians, and the artist Pierre Soulages. He played guitar in a band, but his musical style was perhaps most heavily influenced under the direction of Pierre Schaeffer, a pioneer of musique concrète at the Groupe de Recherches Musicales.
His first mainstream success was the 1976 album Oxygène. Recorded in a makeshift studio at his home, the album went on to sell an estimated 12 million copies. Oxygène was followed in 1978 by Equinoxe, and in 1979 Jarre performed to a record-breaking audience of more than a million people at the Place de la Concorde, a record he has since broken on three separate occasions. More albums were to follow, but his 1979 concert served as a blueprint for his future performances around the world. Several of his albums have been released to coincide with large-scale outdoor events, and he is now perhaps as well known as a performer, as he is a musician.
Jarre has sold an estimated 80 million albums and singles.[1] He was the first western musician to be allowed to perform in the People's Republic of China, and holds the world record for the largest ever audience at an outdoor event. He has three children, and is married to French actress Anne Parillaud.


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