Peter-John Vettese (nacido 15 August 1956 [1] in Scotland), también conocido como Peter Vettese, teclista británico, escritor de canciones, por decir algo, arreglador y productor.
Los datos de la Wikipedia:
http://en.wikipedia.org/wiki/Peter-John_VetteseVettese joined Jethro Tull in 1982 for the recording of their album The Broadsword and the Beast,[1][3][4] and toured with the band extensively for the next couple of years,[5][6] appearing on the album Live at Hammersmith '84. Vettese made significant contributions to Tull's heavily electronic album Under Wraps, (1984)[1] toured with them again in 1986, and recorded as a guest musician on Rock Island (1989).[2]
Vettese also collaborated with Tull's frontman Ian Anderson on Anderson's 1983 solo album, Walk into Light.[1][4][7][8] Vettese co-wrote half the songs on the album, which is notable for his innovative contributions on electronic keyboards.[2][7][8]
Following this, Vettese began an independent career as a songwriter, arranger and producer. In the 1980s he worked with and produced a diverse range of artists including Frankie Goes to Hollywood, Go West, Pet Shop Boys, Bee Gees, Cher, Foreigner, Carly Simon and Clannad. In 1987, he fulfilled a boyhood dream to play with Paul McCartney as a session musician, but he later turned down an offer to become a member of McCartney's re-formed band Wings.[2]
More recently he has worked with Simple Minds, Annie Lennox (the Grammy winning arrangement of Walking on Broken Glass), Zucchero, Peter Cox, Heather Small, Dido, Sophie B. Hawkins, Andy Leek, Beverley Knight, Gary Barlow, Mark Owen, Geri Halliwell, Melanie C, Nate James, Alex Parks, Darren Hayes, Robin Gibb (most notably on the album 50 St. Catherine's Drive) Laura Critchley, Peter Heppner and Spark.[9]
Consiguió meter una caja de ritmos en, nada más y nada menos que,
Jethro Tull. Empieza su maligna influencia en 1982 con sólo un tema del disco
The Broadsword And The Beast, el primer tema, "Beastie". Luego hizo el primer disco en solitario de Ian con él y estuvo en el malogrado
Underwraps. El daño fue muy profundo y
Jethro Tull no se recuperó satisfactoriamente hasta los discos de los 90. El soniquete de este señor era horrible, sintes ochenteros sin ninguna gracia. Lo peor. Y metió a
Ian en una estética de estribillos chungos y repeticiones sin sentido con aires claramente comerciales. El caso es que a
Ian no le funcionó y tuvo que volver por sus fueros. Los temas en los que colabora no tienen batería. Sólo una horrible caja de ritmos. Sólo decir que,
Ian, tú tienes la culpa, no haberlo metido.