Ian Reid | |
|---|---|
| Occupation | Talent manager |
Ian Reid is an English businessman, formerly a talent manager known for his association with the rock band XTC. He was originally the owner of a Swindon club named The Affair. After becoming XTC's third manager in the mid 1970s, he brokered deals for the group to perform at more popular venues such as the Hammersmith Red Cow, The Nashville Rooms and Islington's Hope And Anchor, which led them to a major label contract with Virgin Records. [1]
A talent manager is an individual or company who guides the professional career of artists in the entertainment industry. The responsibility of the talent manager is to oversee the day-to-day business affairs of an artist; advise and counsel talent concerning professional matters, long-term plans and personal decisions which may affect their career.
Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, and developed into a range of different styles in the 1960s and later, particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and roll, a style which drew heavily on the genres of blues, rhythm and blues, and from country music. Rock music also drew strongly on a number of other genres such as electric blues and folk, and incorporated influences from jazz, classical and other musical styles. Musically, rock has centered on the electric guitar, usually as part of a rock group with electric bass, drums, and one or more singers. Usually, rock is song-based music usually with a 4/4 time signature using a verse–chorus form, but the genre has become extremely diverse. Like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political.
XTC was an English rock band formed in Swindon in 1972 who were active until 2006. Led by songwriters Andy Partridge and Colin Moulding, the band gained popularity during the rise of punk and new wave in the 1970s, later playing in a variety of styles that ranged from angular guitar riffs to elaborately arranged pop. Partly because the group did not fit into contemporary trends, they achieved only sporadic commercial success in the UK and US, but attracted a considerable cult following. They have since been recognised for their influence on Britpop and later power pop acts.
He remained XTC's manager until 1982, when it was discovered that he had mishandled their revenue stream. [2] Once it was apparent, a lawsuit was filed by the band, while he counter-sued for "unpaid commission on royalties." [1] For the next decade, the entirety of the group's earnings would be invested in the continued litigation. [3] Despite a gag order that restricts the group from speaking publicly on the alleged improprieties, [4] Andy Partridge's 1984 song "I Bought Myself a Liarbird" was written about Reid. [5] A court settlement was ultimately reached in 1989. [1]
A gag order is an order, typically a legal order by a court or government, restricting information or comment from being made public or passed onto any unauthorized third party. The phrase may sometimes be used of a private order by an employer or other institution.
Andrew John Partridge is an English singer, songwriter, and record producer who co-founded the rock band XTC. He and Colin Moulding each acted as a songwriter and frontman for XTC, with Partridge writing and singing about two-thirds of the group's material. While the band was formed as an early punk rock group, Partridge's music drew heavily from British Invasion songwriters, and his style gradually shifted to more traditional pop, often with pastoral themes. The band's only British top 10 hit, "Senses Working Overtime" (1982), was written by Partridge. He is sometimes regarded as the "godfather" of Britpop.
The Big Express is the seventh studio album by the English rock band XTC, released 15 October 1984 on Virgin Records. It is an autobiographical concept album inspired by the band's hometown of Swindon and its railway system, the Swindon Works. In comparison to its predecessor Mummer (1983), which had a modest, pastoral approach to production, the album features a bright, uptempo sound marked by studio experimentation and denser arrangements, setting a template that they would develop on subsequent albums.
