1.
Album
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Album, is a collection of audio recordings issued as a single item on CD, record, audio tape, or another medium. Albums of recorded music were developed in the early 20th century, first as books of individual 78rpm records, vinyl LPs are still issued, though in the 21st century album sales have mostly focused on compact disc and MP3 formats. The audio cassette was a format used from the late 1970s through to the 1990s alongside vinyl, an album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places. Recording may take a few hours to years to complete, usually in several takes with different parts recorded separately. Recordings that are done in one take without overdubbing are termed live, the majority of studio recordings contain an abundance of editing, sound effects, voice adjustments, etc. With modern recording technology, musicians can be recorded in separate rooms or at times while listening to the other parts using headphones. Album covers and liner notes are used, and sometimes additional information is provided, such as analysis of the recording, historically, the term album was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of pieces of printed music from the early nineteenth century. Later, collections of related 78rpm records were bundled in book-like albums, the LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. It was adopted by the industry as a standard format for the album. Apart from relatively minor refinements and the important later addition of stereophonic sound capability, the term album had been carried forward from the early nineteenth century when it had been used for collections of short pieces of music. Later, collections of related 78rpm records were bundled in book-like albums, as part of a trend of shifting sales in the music industry, some commenters have declared that the early 21st century experienced the death of the album. Sometimes shorter albums are referred to as mini-albums or EPs, Albums such as Tubular Bells, Amarok, Hergest Ridge by Mike Oldfield, and Yess Close to the Edge, include fewer than four tracks. There are no rules against artists such as Pinhead Gunpowder referring to their own releases under thirty minutes as albums. These are known as box sets, material is stored on an album in sections termed tracks, normally 11 or 12 tracks. A music track is a song or instrumental recording. The term is associated with popular music where separate tracks are known as album tracks. When vinyl records were the medium for audio recordings a track could be identified visually from the grooves
2.
Los Straitjackets
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Los Straitjackets is an American instrumental rock band that formed in Nashville, Tennessee in 1988. Esbeck left the band in 1998 and was replaced by Pete Curry, the current lineup also features Greg Townson on guitar and Chris Sprague on drums. The band has released thirteen albums, four collaboration albums. Eddie Angel was a noted rockabilly guitarist, who moved to Nashville in the early 1980s to record, Danny Amis recorded and performed with the Raybeats, then worked as a sound engineer in Nashville. The two formed The Straitjackets in 1988 with Jimmy Lester, a Nashville session player who had worked and toured with Robert Gordon and they played several gigs during the summer of that year, but soon broke up. In 1994, they reformed as Los Straitjackets, adding bass player Scott Esbeck and their first album, The Utterly Fantastic and Totally Unbelievable Sound of Los Straitjackets, was released the following year on Upstart Records. In the post-Pulp Fiction surf revival, the group began attracting a following, over the next few years, the band developed a cult following through its tight instrumentation and stage shows. In its live performances, band members dress in black suits, gold Aztec medallions. Amis is the member who speaks, introducing songs in fast. In 1998, Esbeck left the band during the recording of The Velvet Touch of Los Straitjackets and was replaced by Pete Curry, formerly of the Halibuts, in 2005, Lester left and was replaced by Jason Teen Beat Smay. Theyve become known as frequent collaborators, recording Sing Along With Los Straitjackets with a number of different artists and they were nominated for a Grammy Award for their collaboration with blues singer Eddy Clearwater, Rock N Roll City. As time goes on, their shows have become more elaborate. In recent years, they have staged festive Christmas shows during the holiday season, in 2010, Danny Amis was diagnosed with multiple myeloma. He was sidelined from recording and touring while under treatment, Los Straitjackets recruited guitarist Greg Gregorio El Grande Townson to fill Amis role during his absence. In 2012, Amis announced that his cancer was under control and he would return to recording and this coincided with the bands new studio release Jet Set and debut of new drummer Chris Sugar Balls Sprague. Los Straitjackets provided some of the music for the independent film Psycho Beach Party and they also recorded two albums of music specifically for television and commercial use, and their work is often heard as filler or background music on radio and television shows. In the late 1990s, Conan OBrien had the band perform Christmas music each holiday season on his television program
3.
Surf music
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Surf music is a subgenre of rock music associated with surf culture, particularly as found in Southern California. It was especially popular from 1962 to 1964 in two major forms, the first is instrumental surf, distinguished by reverb-drenched electric guitars played to evoke the sound of crashing waves, largely pioneered by Dick Dale and the Del-Tones. The second is vocal surf, which took the original sound and added vocal harmonies backed by basic Chuck Berry rhythms. Dick Dale developed the sound from instrumental rock, where he added Middle Eastern and Mexican influences, a spring reverb. His regional hit Lets Go Trippin launched the surf music craze, the genre reached national exposure when it was represented by vocal groups such as the Beach Boys, Jan and Dean, and Bruce & Terry. Their vocal surf style drew more from African-American genres such as doo wop with its scat singing, Dale is quoted on such groups, They were surfing sounds surfing lyrics. In other words, the music wasnt surfing music, the words made them surfing songs. The real surfing music is instrumental, at the height of its popularity, surf music rivaled girl groups and Motown for top American popular music trends. It is sometimes referred to interchangeably with the California Sound, during the later stages of the surf music craze, many of its groups started to write songs about cars and girls, this was later known as hot rod rock. Surf music began in the early 1960s as instrumental music, almost always in straight 4/4 time. The outboard separate Fender Reverb Unit that was developed by Fender in 1961 was the actual first wet surf reverb tone and this unit is the reverb effect heard on Dick Dale records, and others such as Pipeline by the Chantays and Point Panic by the Surfaris. It had more of a wet plucky tone than the built in amp reverb, guitarists also made use of the vibrato arm on their guitar to bend the pitch of notes downward, electronic tremolo effects and rapid tremolo picking. Guitar models favored included those made by Fender, Mosrite, Teisco, or Danelectro, Surf music was one of the first genres to universally adopt the electric bass, particularly the Fender Precision Bass. Classic surf drum kits tended to be Rogers, Ludwig, Gretsch or Slingerland, some popular songs also incorporated a tenor or baritone saxophone, as on The Lively Ones Surf Rider and The Revels Comanche. Often an electric organ or an electric piano featured as backing harmony, by the early 1960s, instrumental rock and roll had been pioneered successfully by performers such as Link Wray, The Ventures and Duane Eddy. This trend was developed by Dick Dale, who added Middle Eastern and Mexican influences, the distinctive reverb, groups such as The Bel-Airs, The Challengers and then Eddie & the Showmen followed Dale to regional success. The Chantays scored a top ten hit with Pipeline, reaching number 4 in May 1963. The group also had two other hits, Surfer Joe and Point Panic
4.
Garage rock
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Garage rock is a raw and energetic style of rock and roll that flourished in the mid-1960s, most notably in the United States and Canada. The term derives from the perception that groups were made up of young amateurs who rehearsed in the family garage. The style, a precursor to rock, is characterized by aggressive and unsophisticated lyrics and delivery. In the US and Canada, surf rock—and later the Beatles, hundreds of acts produced regional hits, and some had national hits. Though largely associated with North America, counterparts were present elsewhere as part of the beat boom of the era. As critics of the period began to prescribe a scope for genre, they used the term punk rock. Garage rock has experienced various revivals in the years and continues to influence acts who prefer a back to basics. In the early- to mid-1980s, several garage revival scenes sprung up featuring acts that consciously attempted to replicate the look, in the 2000s, a wave of garage rock revival acts associated with the post-punk revival emerged, and a handful achieved airplay and commercial success. The term garage rock comes from the perception that its performers were young and amateurish, while numerous bands were made up of middle-class teenagers from the suburbs, others were from rural or urban areas or were composed of professional musicians in their twenties. The term garage band often refers to acts in this genre. Garage bands performed in a variety of venues, less-established groups typically played at parties, school dances, and teen clubs. For acts of legal age, bars, nightclubs, and college fraternity socials also provided regular engagements, occasionally, local groups had the opportunity to open at shows for famous touring acts. Some garage rock bands went on tour, particularly better-known acts, groups often competed in battles of the bands, which gave musicians an opportunity to gain exposure and a chance to win a prize, such as free recording time in a local studio. Battles of the bands were held, locally, regionally and nationally, and two of the most prestigious contests were held annually by the Tea Council of the U. S. A. and the Music Circus. Performances often sounded amateurish, naïve or intentionally raw, with typical themes revolving around the traumas of high school life, instrumentation was characterized by electric guitars often distorted through a fuzzbox, teamed with bass and drums. Guitarists sometimes played using aggressive-sounding bar chord riffs, sometimes referred to as power chords, organs such as the Farfisa were commonly used as well as mouth harmonicas or hand-held percussion such as tambourines. Occasionally, the tempo sped up in certain passages, sometimes referred to as raveups, Garage rock acts were diverse in both musical ability and in style, ranging from crude two- and three-chord music to near-studio musician quality. There were also variations in flourishing scenes, such as in California
5.
Rock and roll
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While elements of rock and roll can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until the 1950s. For the purpose of differentiation, this deals with the first definition. The beat is essentially a blues rhythm with an accentuated backbeat, classic rock and roll is usually played with one or two electric guitars, a double bass or string bass or an electric bass guitar, and a drum kit. Beyond simply a style, rock and roll, as seen in movies and on television, influenced lifestyles, fashion, attitudes. In addition, rock and roll may have contributed to the civil rights movement because both African-American and white American teens enjoyed the music and it went on to spawn various genres, often without the initially characteristic backbeat, that are now more commonly called simply rock music or rock. The term rock and roll now has at least two different meanings, both in common usage, the American Heritage Dictionary and the Merriam-Webster Dictionary both define rock and roll as synonymous with rock music. Encyclopædia Britannica, on the hand, regards it as the music that originated in the mid-1950s. In 1934, the song Rock and Roll by the Boswell Sisters appeared in the film Transatlantic Merry-Go-Round, in 1942, Billboard magazine columnist Maurie Orodenker started to use the term rock-and-roll to describe upbeat recordings such as Rock Me by Sister Rosetta Tharpe. By 1943, the Rock and Roll Inn in South Merchantville, in 1951, Cleveland, Ohio disc jockey Alan Freed began playing this music style while popularizing the phrase to describe it. The origins of rock and roll have been debated by commentators. The migration of former slaves and their descendants to major urban centers such as St. The immediate roots of rock and roll lay in the rhythm and blues, then called race music, particularly significant influences were jazz, blues, gospel, country, and folk. The 1940s saw the use of blaring horns, shouted lyrics. In the same period, particularly on the West Coast and in the Midwest, similarly, country boogie and Chicago electric blues supplied many of the elements that would be seen as characteristic of rock and roll. Rock and roll arrived at a time of technological change, soon after the development of the electric guitar, amplifier and microphone. It was the realization that relatively affluent white teenagers were listening to music that led to the development of what was to be defined as rock. Because the development of rock and roll was a process, no single record can be identified as unambiguously the first rock. Other artists with rock and roll hits included Chuck Berry, Bo Diddley, Little Richard, Jerry Lee Lewis
6.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
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