Anthony Louis Banks, Baron Stratford (8 April 1942 – 8 January 2006) was a British Labour Party politician, who was a member of parliament (MP) from 1983 to 2005, before being made a Member of the House of Lords. In government, he served as Minister for Sport from 1997 to 1999. He was well known in the House of Commons for his acid tongue.
Career
Banks was born at Jubilee Maternity Hospital, Belfast, the only son and elder child of Albert Herbert Banks, a sergeant in the Royal Army Service Corps, who before the Second World War had been a toolmaker, and his wife, Olive Irene (Rene), née Rusca. The family returned to England after the birth and he grew up in Brixton and Tooting. He was educated in London at St. John's School, Brixton, Tenison's School in Kennington, the University of York and the London School of Economics.
Banks worked as an assistant general secretary for the Association of Broadcasting Staff union, which represented staff in the BBC and other broadcasting organisations. It later merged with other unions to form BECTU. For several years Banks was responsible for freelances.
Banks played right field for the Minnesota Twins' Class A team in Ft. Myers, Florida, before enrolling at San Diego Mesa College in San Diego. He played there two years before transferring to Michigan State University.
Banks places among the all-time record holders at Michigan State. He ranks sixth in passing completion percentage, tenth in career passing yards, and tenth in passing touchdowns. Banks was the first quarterback selected in the 1996 NFL Draft.
In the October 2010 issue of Sports Illustrated, former NFL agent Josh Luchs alleges that he paid Banks 'several hundred dollars a month', while Banks was at Michigan State, a serious violation of NCAA eligibility rules if true.
Tony Banks - Seven: A Suite for Orchestra - Spring Tide
We now move on to 'Seven'. It is Tony's first classical album. Here is some info. on the album:
'Seven: A Suite for Orchestra' is the first classical solo album by Tony Banks. It was released by Naxos Records in 2004. The suite is performed by the London Philharmonic Orchestra and conducted by Mike Dixon. Tony plays piano on "Spring Tide", "The Ram" and "The Spirit of Gravity." It is his sixth studio album (and eighth album overall).
Recorded at Air Studios (Lyndhurst) Ltd., England, on 3rd, 4th, 5th, 8th, and 9th July 2002. Piano: Tony Banks, recorded at The Farm Studio
Orchestrated by Simon Hale
Engineered by Nick Wollage and Rupert Coulson
Produced by Nick Davis and Tony Banks
On March 29, 2004, Tony Banks released his first orchestral album, Seven (Naxos 8.557466). It is the logica...
published: 15 Jul 2011
Spring Tide by Tony Banks
From 'Seven: A Suite For Orchestra' released in 2004
published: 16 Dec 2010
Tony Banks - A Chord Too Far - Spring Tide (Demo)
Happy Halloween to you Banksians out there. This month I bring you some more demos off of 'A Chord Too Far'. Here we have the demo for "Spring Tide" which was featured on Tony's first orchestral album, 'Seven'. According to Tony, "Spring Tide was recorded in 1999 without me knowing what to do with it. So it sounds quite differently than the orchestral version for Seven." Enjoy.
published: 31 Oct 2018
Tony Banks - Redwing Suite: Redwing
Tony Banks - Redwing Suite: Redwing from the album "Soundtracks" from the film "Lorca and the Outlaw"
published: 21 Jan 2011
Tony Banks - Quicksilver Suite - Rebirth
Tony Banks - Quicksilver Suite - Rebirth: from the album "Soundtracks" from the film "Quicksilver"
published: 16 Jun 2011
Tony Banks - Redwing Suite: Lorca
Tony Banks - Redwing Suite: Lorca - From the Album "Soundtracks" from the film "Lorca and the Outlaw"
published: 21 Jan 2011
Tony Banks - Come Rain or Shine
This is a compilation of all of Tony's funny segments and interview bits from the Genesis documentary 'Come Rain or Shine'!! There are some pretty funny bits in here which I hope you all enjoy as much as me.
Tony Banks - Prelude to a Million Years (Official)
Performed by Tony Banks and the Czech National Symphony Orchestra & Choir. Conductor: Nick Ingman
Filmed by Emily Banks
'Prelude to a Million Years' is taken from Tony Banks' new album 'Five', out now: https://TonyBanks.lnk.to/FiveID
Follow Tony on:
Facebook - https://www.facebook.com/tonybanksofficial
Twitter - https://twitter.com/tonybanksmusic
Spotify - https://open.spotify.com/artist/0GoR8CuoikLD53GNMZUGHN
We now move on to 'Seven'. It is Tony's first classical album. Here is some info. on the album:
'Seven: A Suite for Orchestra' is the first classical solo albu...
We now move on to 'Seven'. It is Tony's first classical album. Here is some info. on the album:
'Seven: A Suite for Orchestra' is the first classical solo album by Tony Banks. It was released by Naxos Records in 2004. The suite is performed by the London Philharmonic Orchestra and conducted by Mike Dixon. Tony plays piano on "Spring Tide", "The Ram" and "The Spirit of Gravity." It is his sixth studio album (and eighth album overall).
Recorded at Air Studios (Lyndhurst) Ltd., England, on 3rd, 4th, 5th, 8th, and 9th July 2002. Piano: Tony Banks, recorded at The Farm Studio
Orchestrated by Simon Hale
Engineered by Nick Wollage and Rupert Coulson
Produced by Nick Davis and Tony Banks
On March 29, 2004, Tony Banks released his first orchestral album, Seven (Naxos 8.557466). It is the logical continuation of works like "Firth Of Fifth" (1973), "Mad Man Moon" (1976), "One For The Vine" (1977), 'The Wicked Lady' (1983) or "An Island In The Darkness" (1995).
So the B-side of 'The Wicked Lady' was recorded by a symphonic orchestra, too. There are, however crucial differences. Tony enjoyed only limited artistic freedom with 'The Wicked Lady' because the score had to fit the film. At that time he was also working on 'The Fugitive' (1983) which kept him so busy that he had to give a lot of freedom to Christopher Palmer to arrange the music as he saw fit. A comparison of the orchestral arrangements with Tony's original keyboard recordings shows the difference.
When the 'Seven' project, which began soon after the end of the '...Calling All Stations...' tour, took shape, things were to be different. Tony gave free reign to his musical genius for all seven parts of this recording. The term "suite for orchestra" that is the official subtitle is misleading. These are seven completely independent pieces that do not share any musical themes. Indeed, they were not even all written especially for this project. Simon Hale, the arranger, was called in because the orchestral arrangements with his cooperation would turn out better as if Tony, who had neither real knowledge nor experience in this field, had done it himself. Unlike Palmer in 1983, Hale was not allowed to change anything about the structure, development of melodies and continuation of harmonies, information he obtained from Tony's recorded (but probably not written) detailed demos. The broad variety of instruments in the orchestra, however, left enough space to shape the music. He developed a number of major and minor ideas that were discussed, modified and finally approved or turned down by Tony.
After initial difficulties on the first recording day the suite was recorded early in July 2002 by the London Philharmonic Orchestra conducted by Mike Dixon (who already had some experience with musicals). Tony, Simon and co-producer Nick Davis were also present. Tony recorded the piano parts for three of the pieces at The Farm. These piano parts are part of the orchestral sound, they are not meant to turn the pieces into some kind of piano concerto.
The title, 'Seven', underlines the individuality of the seven pieces; their titles were chosen later and they are meant to be generic, not filled with content and a deeper meaning, which holds true for the first six pieces.
"Spring Tide" opens the suite with a merrily bubbling theme first presented by flute and piano (resembling "Mad Man Moon") before it moved on to a calmly flowing lyrical part. The majestic main theme begins at 3:01. It takes turns with the introductory theme (which is reprised explicitly at 5:48), dominates the lyrical part of the piece. It also leads the spring tide to a peak at 8:02 before it slowly ebbs away.
This introductory movement of the suite is one of the three pieces that have a piano part and the one in which Tony's instrument is very noticeable.
Aficionados of British music have likened "Spring Tide" to the music of Ralph Vaughan Williams (1872-1958).
We now move on to 'Seven'. It is Tony's first classical album. Here is some info. on the album:
'Seven: A Suite for Orchestra' is the first classical solo album by Tony Banks. It was released by Naxos Records in 2004. The suite is performed by the London Philharmonic Orchestra and conducted by Mike Dixon. Tony plays piano on "Spring Tide", "The Ram" and "The Spirit of Gravity." It is his sixth studio album (and eighth album overall).
Recorded at Air Studios (Lyndhurst) Ltd., England, on 3rd, 4th, 5th, 8th, and 9th July 2002. Piano: Tony Banks, recorded at The Farm Studio
Orchestrated by Simon Hale
Engineered by Nick Wollage and Rupert Coulson
Produced by Nick Davis and Tony Banks
On March 29, 2004, Tony Banks released his first orchestral album, Seven (Naxos 8.557466). It is the logical continuation of works like "Firth Of Fifth" (1973), "Mad Man Moon" (1976), "One For The Vine" (1977), 'The Wicked Lady' (1983) or "An Island In The Darkness" (1995).
So the B-side of 'The Wicked Lady' was recorded by a symphonic orchestra, too. There are, however crucial differences. Tony enjoyed only limited artistic freedom with 'The Wicked Lady' because the score had to fit the film. At that time he was also working on 'The Fugitive' (1983) which kept him so busy that he had to give a lot of freedom to Christopher Palmer to arrange the music as he saw fit. A comparison of the orchestral arrangements with Tony's original keyboard recordings shows the difference.
When the 'Seven' project, which began soon after the end of the '...Calling All Stations...' tour, took shape, things were to be different. Tony gave free reign to his musical genius for all seven parts of this recording. The term "suite for orchestra" that is the official subtitle is misleading. These are seven completely independent pieces that do not share any musical themes. Indeed, they were not even all written especially for this project. Simon Hale, the arranger, was called in because the orchestral arrangements with his cooperation would turn out better as if Tony, who had neither real knowledge nor experience in this field, had done it himself. Unlike Palmer in 1983, Hale was not allowed to change anything about the structure, development of melodies and continuation of harmonies, information he obtained from Tony's recorded (but probably not written) detailed demos. The broad variety of instruments in the orchestra, however, left enough space to shape the music. He developed a number of major and minor ideas that were discussed, modified and finally approved or turned down by Tony.
After initial difficulties on the first recording day the suite was recorded early in July 2002 by the London Philharmonic Orchestra conducted by Mike Dixon (who already had some experience with musicals). Tony, Simon and co-producer Nick Davis were also present. Tony recorded the piano parts for three of the pieces at The Farm. These piano parts are part of the orchestral sound, they are not meant to turn the pieces into some kind of piano concerto.
The title, 'Seven', underlines the individuality of the seven pieces; their titles were chosen later and they are meant to be generic, not filled with content and a deeper meaning, which holds true for the first six pieces.
"Spring Tide" opens the suite with a merrily bubbling theme first presented by flute and piano (resembling "Mad Man Moon") before it moved on to a calmly flowing lyrical part. The majestic main theme begins at 3:01. It takes turns with the introductory theme (which is reprised explicitly at 5:48), dominates the lyrical part of the piece. It also leads the spring tide to a peak at 8:02 before it slowly ebbs away.
This introductory movement of the suite is one of the three pieces that have a piano part and the one in which Tony's instrument is very noticeable.
Aficionados of British music have likened "Spring Tide" to the music of Ralph Vaughan Williams (1872-1958).
Happy Halloween to you Banksians out there. This month I bring you some more demos off of 'A Chord Too Far'. Here we have the demo for "Spring Tide" which was f...
Happy Halloween to you Banksians out there. This month I bring you some more demos off of 'A Chord Too Far'. Here we have the demo for "Spring Tide" which was featured on Tony's first orchestral album, 'Seven'. According to Tony, "Spring Tide was recorded in 1999 without me knowing what to do with it. So it sounds quite differently than the orchestral version for Seven." Enjoy.
Happy Halloween to you Banksians out there. This month I bring you some more demos off of 'A Chord Too Far'. Here we have the demo for "Spring Tide" which was featured on Tony's first orchestral album, 'Seven'. According to Tony, "Spring Tide was recorded in 1999 without me knowing what to do with it. So it sounds quite differently than the orchestral version for Seven." Enjoy.
This is a compilation of all of Tony's funny segments and interview bits from the Genesis documentary 'Come Rain or Shine'!! There are some pretty funny bits in...
This is a compilation of all of Tony's funny segments and interview bits from the Genesis documentary 'Come Rain or Shine'!! There are some pretty funny bits in here which I hope you all enjoy as much as me.
This is a compilation of all of Tony's funny segments and interview bits from the Genesis documentary 'Come Rain or Shine'!! There are some pretty funny bits in here which I hope you all enjoy as much as me.
Track #2
From the album "The Fugitive".
Tony Banks: Vocals, keyboards, synth bass and LinnDrum.
Daryl Stuermer: Guitars
Mo Foster: Bass guitar
Steve Ga...
Performed by Tony Banks and the Czech National Symphony Orchestra & Choir. Conductor: Nick Ingman
Filmed by Emily Banks
'Prelude to a Million Years' is taken ...
Performed by Tony Banks and the Czech National Symphony Orchestra & Choir. Conductor: Nick Ingman
Filmed by Emily Banks
'Prelude to a Million Years' is taken from Tony Banks' new album 'Five', out now: https://TonyBanks.lnk.to/FiveID
Follow Tony on:
Facebook - https://www.facebook.com/tonybanksofficial
Twitter - https://twitter.com/tonybanksmusic
Spotify - https://open.spotify.com/artist/0GoR8CuoikLD53GNMZUGHN
Performed by Tony Banks and the Czech National Symphony Orchestra & Choir. Conductor: Nick Ingman
Filmed by Emily Banks
'Prelude to a Million Years' is taken from Tony Banks' new album 'Five', out now: https://TonyBanks.lnk.to/FiveID
Follow Tony on:
Facebook - https://www.facebook.com/tonybanksofficial
Twitter - https://twitter.com/tonybanksmusic
Spotify - https://open.spotify.com/artist/0GoR8CuoikLD53GNMZUGHN
We now move on to 'Seven'. It is Tony's first classical album. Here is some info. on the album:
'Seven: A Suite for Orchestra' is the first classical solo album by Tony Banks. It was released by Naxos Records in 2004. The suite is performed by the London Philharmonic Orchestra and conducted by Mike Dixon. Tony plays piano on "Spring Tide", "The Ram" and "The Spirit of Gravity." It is his sixth studio album (and eighth album overall).
Recorded at Air Studios (Lyndhurst) Ltd., England, on 3rd, 4th, 5th, 8th, and 9th July 2002. Piano: Tony Banks, recorded at The Farm Studio
Orchestrated by Simon Hale
Engineered by Nick Wollage and Rupert Coulson
Produced by Nick Davis and Tony Banks
On March 29, 2004, Tony Banks released his first orchestral album, Seven (Naxos 8.557466). It is the logical continuation of works like "Firth Of Fifth" (1973), "Mad Man Moon" (1976), "One For The Vine" (1977), 'The Wicked Lady' (1983) or "An Island In The Darkness" (1995).
So the B-side of 'The Wicked Lady' was recorded by a symphonic orchestra, too. There are, however crucial differences. Tony enjoyed only limited artistic freedom with 'The Wicked Lady' because the score had to fit the film. At that time he was also working on 'The Fugitive' (1983) which kept him so busy that he had to give a lot of freedom to Christopher Palmer to arrange the music as he saw fit. A comparison of the orchestral arrangements with Tony's original keyboard recordings shows the difference.
When the 'Seven' project, which began soon after the end of the '...Calling All Stations...' tour, took shape, things were to be different. Tony gave free reign to his musical genius for all seven parts of this recording. The term "suite for orchestra" that is the official subtitle is misleading. These are seven completely independent pieces that do not share any musical themes. Indeed, they were not even all written especially for this project. Simon Hale, the arranger, was called in because the orchestral arrangements with his cooperation would turn out better as if Tony, who had neither real knowledge nor experience in this field, had done it himself. Unlike Palmer in 1983, Hale was not allowed to change anything about the structure, development of melodies and continuation of harmonies, information he obtained from Tony's recorded (but probably not written) detailed demos. The broad variety of instruments in the orchestra, however, left enough space to shape the music. He developed a number of major and minor ideas that were discussed, modified and finally approved or turned down by Tony.
After initial difficulties on the first recording day the suite was recorded early in July 2002 by the London Philharmonic Orchestra conducted by Mike Dixon (who already had some experience with musicals). Tony, Simon and co-producer Nick Davis were also present. Tony recorded the piano parts for three of the pieces at The Farm. These piano parts are part of the orchestral sound, they are not meant to turn the pieces into some kind of piano concerto.
The title, 'Seven', underlines the individuality of the seven pieces; their titles were chosen later and they are meant to be generic, not filled with content and a deeper meaning, which holds true for the first six pieces.
"Spring Tide" opens the suite with a merrily bubbling theme first presented by flute and piano (resembling "Mad Man Moon") before it moved on to a calmly flowing lyrical part. The majestic main theme begins at 3:01. It takes turns with the introductory theme (which is reprised explicitly at 5:48), dominates the lyrical part of the piece. It also leads the spring tide to a peak at 8:02 before it slowly ebbs away.
This introductory movement of the suite is one of the three pieces that have a piano part and the one in which Tony's instrument is very noticeable.
Aficionados of British music have likened "Spring Tide" to the music of Ralph Vaughan Williams (1872-1958).
Happy Halloween to you Banksians out there. This month I bring you some more demos off of 'A Chord Too Far'. Here we have the demo for "Spring Tide" which was featured on Tony's first orchestral album, 'Seven'. According to Tony, "Spring Tide was recorded in 1999 without me knowing what to do with it. So it sounds quite differently than the orchestral version for Seven." Enjoy.
This is a compilation of all of Tony's funny segments and interview bits from the Genesis documentary 'Come Rain or Shine'!! There are some pretty funny bits in here which I hope you all enjoy as much as me.
Performed by Tony Banks and the Czech National Symphony Orchestra & Choir. Conductor: Nick Ingman
Filmed by Emily Banks
'Prelude to a Million Years' is taken from Tony Banks' new album 'Five', out now: https://TonyBanks.lnk.to/FiveID
Follow Tony on:
Facebook - https://www.facebook.com/tonybanksofficial
Twitter - https://twitter.com/tonybanksmusic
Spotify - https://open.spotify.com/artist/0GoR8CuoikLD53GNMZUGHN
As I step inside the street sound, A growl of thunder turns my head round, I see one face in the crowd, Like a beacon in the rain, I see your sunshine calling to me. As the people rush on by you, I will move myself aside you, Link arms like policemen in a chain, Keep ourselves inside the line, I need you now like it needed to rain. As the puddles form around us, And the thunder noise surrounds us, Now I can laugh amid the storm, Like a child in the warm, I feel your sunlight shining on me, All around me, inside me. Then high in the sky, a star appears to be winking, A branch caught by the wind, it's leaves beckon to me. Stone still at my feet, it's grey matches my thinking, Well water so deep, it's song calling me down, down, down... Now in the street I stand deserted, With the cold and wet returning, I turn, rejoining the crowd, Like a leave caught in the stream, I need you now like it needed to rain. I will meet you where the winds blow, The thunder rolls to and the streams flow, I will see your face in the crowd, Like a beacon in the rain, And see your sunshine calling to me.
For TannerBanks, it’s Comerica Park... “It will always hold a special spot,” Banks said ... Days earlier, Banks, a non-roster invitee to spring training, was a surprise part of manager Tony La Russa’s Opening Day roster.
The former national team standout outpaced four-time OOM winner and Caliraya Springs leg titlist Tony Lascuña, who banked P1,325,196, and two-leg champion (Forest Hills and Del Monte) Clyde Mondilla, ...
The former national team standout outpaced four-time OOM winner and Caliraya Springs leg titlist Tony Lascuña, who banked P1,325,196, and two-leg champion (Forest Hills and Del Monte) Clyde Mondilla, ...