A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording 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", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; 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 where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
A duet is a musical composition for two performers in which the performers have equal importance to the piece a composition involving two singers or two pianists. It differs from a harmony, as the performers take turns performing a solo section rather than performing simultaneously. A piece performed by two pianists performing together on the same piano is a "piano duet" or "piano four hands". A piece for two pianists performing together on separate pianos is a "piano duo". "Duet" is used as a verb for the act of performing a musical duet, or colloquially as a noun to refer to the performers of a duet. A musical ensemble with more than two solo instruments or voices is called trio, quintet, septet, etc; when Mozart was young, he and his sister Marianne played a duet of his composition at a London concert in 1765. The four-hand, described as a duet, was in many of his compositions; the first published sonata or duet was in 1777. In Renaissance music, a duet intended as a teaching tool, to be performed by teacher and student, was called a bicinium.
Duets have always been a part of the structure of operas. Early 16th-century operas such as L'Orfeo and L'incoronazione di Poppea involve duets throughout the performance. In 17th-century Italy duets were used in comic scenes within serious operas. In Baroque France the duet was popular in tragedies, such as songs of confrontation; the love duet was characterized by singing in close harmonies of 3rds and 6ths, symbolizing unity after conflict. La clemenza di Tito by Wolfgang Amadeus Mozart La Cenerentola by Gioachino Rossini The Puritans of Vincenzo Bellini Don Pasquale by Gaetano Donizetti La traviata by Giuseppe Verdi Aida of Giuseppe Verdi Mefistofele of Arrigo Boito Manon Lescaut by Giacomo Puccini Madama Butterfly by Giacomo Puccini L'amico Fritz by Pietro Mascagni Throughout the 20th century duets have been common in the popular music of the era; some songs were written to be heard as conversations, such as "Baby, It's Cold Outside". Others were performed around a theme, for example New York in "Empire State of Mind".
Duets are an improvisation between artists, such as "Under Pressure". David Bowie and Freddie Mercury composed the lyrics in a day by improvising together. "Baby, It's Cold Outside" - Ricardo Montalbán and Esther Williams, with roles reversed, Red Skelton and Betty Garrett, 1948 "Dream a Little Dream of Me" – Louis Armstrong and Ella Fitzgerald, 1950 "I Got You Babe" – Sonny & Cher, 1965 "Ain't No Mountain High Enough" – Marvin Gaye and Tammi Terrell, 1967 "Jackson" – Johnny Cash and June Carter, 1967 "Somethin' Stupid" – Frank Sinatra and Nancy Sinatra, 1967 "Waters of March" – Elis Regina and Antonio Carlos Jobim, 1972 "Don't Go Breaking My Heart" – Elton John and Kiki Dee, 1976 "You're The One That I Want" – John Travolta and Olivia Newton-John, 1978 "Endless Love" – Diana Ross and Lionel Richie, 1981 "Under Pressure" – Queen and David Bowie, 1981 "Up Where We Belong" – Joe Cocker and Jennifer Warnes, 1982 "Ebony and Ivory" – Paul McCartney and Stevie Wonder, 1982 "Islands in the Stream" – Kenny Rogers and Dolly Parton, 1983 "Don't Give Up" – Kate Bush and Peter Gabriel, 1985 "Always" - Atlantic Starr, 1987 " The Time of My Life" – Bill Medley and Jennifer Warnes, 1987 "One Sweet Day" – Mariah Carey and Boyz II Men, 1995 "Scream" – Michael Jackson and Janet Jackson, 1995 "It's Your Love" – Tim McGraw and Faith Hill, 1997 "Tell Him" – Barbra Streisand and Celine Dion, 1997 "I'm Your Angel" – R. Kelly and Celine Dion, 1998 "When You Believe" – Whitney Houston and Mariah Carey, 1998 "Where You Are" – Jessica Simpson and Nick Lachey, 2000 "I Belong to You" – Eros Ramazzotti and Anastacia, 2006 "Beautiful Liar" – Beyoncé and Shakira, 2007 "No Estamos Solos" – Eros Ramazzotti and Ricky Martin, 2007 "Ta Voix" – Jennifer Paige and Lââm, 2008 "Limpido" – Laura Pausini and Kylie Minogue, 2013 "Hurt You" – Toni Braxton and Babyface, 2014 "Bad Things" - Machine Gun Kelly and Camila Cabello, 2016 Chisholm, Hugh, ed..
"Duet". Encyclopædia Britannica. Cambridge University Press; the dictionary definition of duet at Wiktionary
The System Has Failed
The System Has Failed is the tenth studio album by American thrash metal band Megadeth, released on September 14, 2004. It was the band's final studio album to be distributed by Sanctuary Records; the System Has Failed was the first album to be released after Mustaine recovered from his arm injury sustained in 2002 which prevented him from playing guitar. It is the first of three Megadeth records not to include original bassist and co-founder David Ellefson. Instead, the album features session players, including former Megadeth guitarist Chris Poland on lead guitar. However, Poland only provided lead guitar parts and solos on a contractual basis and did not rejoin the band. To date, it is the only Megadeth album; as a result, it is referred to as a Mustaine solo album. The System Has Failed received positive reception from critics and debuted at number 18 on the Billboard 200; the album was thought of as being a return to form for the band, after the release of more commercially accessible albums through the 1990s.
"Die Dead Enough" and "Of Mice and Men" were released as singles in 2004, "The Scorpion" was released as a single in 2005. The track "Back in the Day" was featured in the Duck Dodgers episode "In Space, No One Can Hear You Rock" in 2005, which featured an animated version of the band performing the song. In 2002, frontman Dave Mustaine announced that he was disbanding Megadeth due to an arm injury that rendered him unable to play guitar. In a statement published on April 3, 2002, he stated that doctors expected that it would take about a year before he would recover from the injury. However, it was uncertain as to. Mustaine stated his hopes to regain the ability to play guitar, he subsequently recovered following months of physical therapy. The album was recorded at Oceanway and Emerald Entertainment in Nashville, Tennessee and at Phase Four Studios in Tempe, Arizona. In a promotional statement from Megadeth's then-label Sanctuary Records, Mustaine clarified that recording the album had been "liberating", due to having more control over the record than he had had since the first two Megadeth records.
Mustaine noted that he took a casual approach to the album, starting out working three hours a night, four days a week. Intended to be a solo album by Mustaine, the record was re-branded with the Megadeth name as a result of contractual obligations owed to Mustaine's publishing company. Mustaine co-produced the record with Jeff Balding, who had engineered Cryptic Writings and Risk. Upon restarting Megadeth, Mustaine contacted bassist and founding member David Ellefson about resuming bass guitar duties for the band; those efforts were fruitless, however. Ellefson claimed that Mustaine was not financially willing to pick up "where it was when broke up" and did not return to Megadeth; the cover art was designed by Mike Learn, features Vic Rattlehead at a podium in front of the United States Supreme Court building selling a not-guilty verdict to U. S. President George W. Bush. Saluting is Hillary Clinton, next to former President Bill Clinton. Behind President Bush, Vice President Dick Cheney holds a briefcase labeled "plan B".
Behind Cheney are several other Bush Administration officials: National Security Advisor Condoleezza Rice, Defense Secretary Donald Rumsfeld, Attorney General John Ashcroft. The $100 bills on the cover depict Vic Rattlehead's face rather than the one of Benjamin Franklin; the System Has Failed was released on September 2004 through Sanctuary Records. Three days on September 11, the album was made available for streaming on the VH1 website; the album debuted at number 18 with 46,000 units sold in its first week. By December 2007, The System Has Failed had sold 196,000 copies in the United States. In addition, the album had managed to chart in the top 20 in several other countries, including Canada and Sweden. Still needing a band with whom to tour, Mustaine hired longtime drummer Nick Menza, newcomers James MacDonough and Glen Drover. However, just five days before the start of the tour, Menza was sent home, his place was filled by Shawn Drover, brother of then-recently hired guitarist Glen Drover.
The album's promotional tour, the Blackmail the Universe Tour, launched on October 23, 2004 in Reno and featured Earshot as a supporting act. This tour would spawn the That One Night: Live in Buenos Aires double live album, released in 2007. Two music videos were made to help promote the album; the first was "Die Dead Enough", directed by Thomas Mignone. "Of Mice and Men" was selected as the second video from the album. In this video, the then-new Megadeth lineup is shown performing; the majority of the video was filmed on January 2005 in Los Angeles. Many fans turned up to be in the video through a contest held by Sanctuary Records. A third video was made for "Back in the Day" in 2005, but was unreleased until September 15, 2014, to celebrate ten years since the album's release. "Back in the Day" was featured in an episode of the Duck Dodgers TV series. The episode which the song was featured in, "In Space, No One Can Hear You Rock", aired on November 4, 2005, after having been delayed a week. A remastered version of The System Has Failed, along with The World Needs A Hero, was re-issued on CD, digital download on February 15, 2019.
"Die Dead Enough" was the lead single from The System Has Failed. Mustaine wrote it when he was asked to write a song for the movie Tomb Raider II, but the proposed budget for recording was too low and the deal fell through. On, the song was supposed to be featured in the film Saw
Youthanasia is the sixth studio album by American thrash metal band Megadeth, released on 1 November 1994 through Capitol Records. The album is not a large stylistic departure from the band's earlier recordings; the album's title is a play on words. The cover art features an elderly woman hanging babies by their feet on a endless clothesline. Youthanasia received positive reviews upon its release, it was commercially successful, peaking at number 4 on the Billboard 200 chart, was certified platinum for shipping one million copies in the United States—a distinction achieved in 1995. A remixed and remastered edition featuring several bonus tracks and detailed liner notes was reissued on 27 July 2004. Megadeth's previous studio release, Countdown to Extinction, became the band's biggest commercial accomplishment, entering the Billboard 200 at number two and becoming double platinum; as a result, they continually sold-out arenas across North America, in addition to developing a strong following overseas.
With the next album, the band moved towards a more mainstream sound. It was a time of problems and conflicts for Megadeth, that in every two weeks or so, according to frontman Dave Mustaine, there were "outrageous emotional interventions" in order to make the group a democracy. Many band meetings during this period concerned Mustaine's creative control over a "successful formula", so that the rest of the band could better exercise their creativity. Another problem was the indecision on. Mustaine did not want to record in Los Angeles, so it was decided to record in Phoenix, since the majority of the band resided in Arizona; the sessions for the album began in Phase Four Studios in January 1994, after a few weeks the sessions were moved to Vintage Recorders in Phoenix and continued there into May- this studio is the location for scenes in the Evolver video. Producer Max Norman suggested that they build a new self-dedicated studio, in cooperation with the band and Max's funding a modular studio was built in a warehouse in South Phoenix.
Talking about the recording process, Mustaine said that Youthanasia was written in the studio. "We weren't playing any cataloged material. None of the past influenced the new record." He mentioned that he gave "more freedom" to the other members and called the album "very much a total band effort". Of interest is that this was hoped to be the "first" album recorded on hard drives, Both Max and Dave were believers in being on the cutting edge of technology, Max had long been using computers to sample and comp tracks. Digidesign was working on expanding Pro Tools from a single track to multitracking and it was hoped that as many as 48 digital tracks could be synced and used to record; the computers used were Apple Quadra 400/500 models and with a great effort by all, it was soon evident that magnetic tape would have to be used. The cover art by Hugh Syme features an elderly woman hanging babies by their feet on a endless clothesline. According to bassist David Ellefson, the artwork concept was directly inspired from a line of the title track, "We've been hung out to dry".
He explained that the title track "was the strongest representation of how we feel about the young people who listen to our music and what their future holds for them. It's like you have a choice, you can become proactive or you can choose'Youthanasia'." The title is a combination of the words "youth" and "euthanasia". Mustaine has stated that the idea for the title stems from hearing about Jack Kevorkian, as well as the declining state of well-being of young people referring to issues like drugs and violence, a lack of parenting; the album was released on 1 November 1994 through Capitol Records. Promotion included the first official website for a band, "Megadeth, Arizona", described by its conceiver, Robin Sloan Bechtel, as “a virtual cybertown in cyberspace" where fans gathered in an online community that among other things offered news regarding Megadeth's new album. Youthanasia was commercially successful and peaking at number 4 on the Billboard 200, with 143,000 units sold in its first week.
This marked the band's second top five album below the number two peak of Countdown to Extinction in 1992, the band would only reach such a landmark again in 2016 with Dystopia. Several weeks after its release, the record was certified platinum by the Recording Industry Association of America for shipping one million copies in the United States; the album managed to enter into the top 10 in the United Kingdom and some other European countries as well. It received a platinum certification from Music Canada and a silver award from the British Phonographic Industry for shipments of 100,000 and 60,000 copies, respectively. A remixed and remastered edition featuring several bonus tracks and detailed liner notes was reissued on 27 July 2004. Three singles were released from Youthanasia: "Reckoning Day", "Train of Consequences" and "A Tout le Monde"; the latter would be re-recorded with Lacuna Coil vocalist Cristina Scabbia under the title "À Tout le Monde". This version was released as a single, included on United Abominations.
Both "Train of Consequences" and "A Tout le Monde" charted on the Mainstream Rock Tracks chart. A special promotional copy of the album was issued with an essay by suspense novelist Dean Koontz entitled "Godzilla vs. Megadeth"
Lacuna Coil is a gothic metal band from Milan, Italy. Since their formation in 1994, the group has had two name changes, being known as Sleep of Right and Ethereal. Inspired by the combination of gothic imagery and music, the members have been known, for composing mid-tempo songs consisting of prominent guitar lines and contrasting dual female/male vocal harmonies to help create a melodic, detached sound. Much of the band's recent material, sees a heavier and more down-tuned style, featuring a more distinct bass line and a higher mixing of the guitars within the songs; the band's 2012 release, Dark Adrenaline, peaked at number 15 on the Billboard 200. They were nominated in 2006 for an MTV Europe Music Award. Vocalist Andrea Ferro and bassist/composer Marco Coti Zelati formed Sleep of Right in Milan, Italy, 1994, recruited Raffaele Zagaria on guitars, Michaelangelo Algardi on the drums. After recording a song titled "Bleeding Souls" for the Noise of Bolgia compilation in 1995, Claudio Leo became the band's second guitarist, Leonardo Forti replaced Michaelangelo on the drums after his departure.
The band asked Cristina Scabbia, a friend and girlfriend of Marco at the time, to sing background vocals which led to her joining the band. Soon after, the band changed their name to Ethereal, signed to Century Media at the end of 1997. Finding that the name Ethereal was taken by a Greek band, they changed their name to Lacuna Coil, meaning "empty spiral."Lacuna Coil released a self-titled EP through Century Media in 1998, shortly after Raffael Zagaria, Claudio Leo, Leonardo Forti departed. As a result, guitarist Cristiano Migliore and drummer Cristiano Mozzati were recruited officially. At this point, the band was touring with Moonspell after the release of the Lacuna Coil EP. Following a second European tour, the band recorded their debut full-length album In a Reverie and added second guitarist Marco Biazzi; the band supported the album with another European tour. Allmusic rated the album 4 stars, saying it was "a fine debut by a band that bears watching." The band toured around Europe as a support act.
Following their debut, In a Reverie, the EP Half-Life was released in 2000 with five songs: "Half Life," "Hyperfast," "Stars", "Trance Awake" and a demo version of "Senzafine." The final version of the latter was included in the 2001 album Unleashed Memories. While the studio album contained 10 songs re-releases included the Halflife EP; that same year, the band toured the United States for the first time. The band's breakthrough album Comalies was released in 2002. A significant player on Europe's metal scene for nearly a decade at this point, the band was unknown in the United States; the TV series Uranium gave the band some of its earliest US exposure. They kicked off their first headlining U. S. tour in 2003, supported by Dog Fashion Disco. Networks such as Fuse played the song's video, for example. In early 2005, "Heaven's a Lie" won in The 4th Annual Independent Music Awards for Best Hard Rock/Metal Song; the beginning of this song was used as the introduction music for the audio podcast novel The Rookie by Scott Sigler.
The second single, "Swamped," was played in heavy rotation and used in the video game Vampire: The Masquerade - Bloodlines. It appeared on the soundtrack for the movie Resident Evil: Apocalypse. Videos were filmed for both songs and broadcast on MTV2's Headbanger's Ball, which saw the band perform an acoustic rendition of "Heaven's a Lie" live. By 2004, Comalies had become the best-selling CD in Century Media's history; the band appeared at Ozzfest in between headlining club tours in the United States and Europe. A bonus, extended version of Comalies was released both on iTunes; this version consisted of both live and acoustic versions of the songs "Heaven's A Lie," "Swamped," "Unspoken," "Aeon" and "Senzafine" from Unleashed Memories. The band and label postponed the release of their follow-up to Comalies, Karmacode, to early 2006. According to the band's website, this made it possible for more time to be spent on production and to avoid the crowded summer 2005 release schedule for metal albums.
On December 23, 2005 the band announced on their web site that all recording and mastering on Karmacode had been completed. It was announced that Karmacode would be released in the United States on April 4, 2006. During their 2005 European Tour, Lacuna Coil debuted two new songs from Karmacode at selected concerts: "Our Truth" and "Fragile" under the working titles "Antonio" and "A2" respectively. Karmacode debuted at number 28 on the Billboard 200. Considered by Billboard to be "the biggest album in the history of Century Media Records," it was acclaimed by music critics and magazines. Corresponding with the release of the new album, Lacuna Coil toured with Rob Zombie throughout North America in early 2006. After their tour with Zombie, they performed main stage at Ozzfest 2006 along with System of a Down, Ozzy Osbourne, Hatebreed, becoming the first female-fronted band to co-headline the heavy-metal festival; that summer they played on the main stage of the Download Festival, headlined by Metallica and Guns N' Roses.
That December, Lacuna Coil teamed up with In Flames, The Sword and Seemless for a US tour, as well as The Blackest of the Black 2006 Tour. Four singles were released from Karmacode: "Our Truth," "Closer," "Within Me" and a cover of Depeche Mode'
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Paul Thomas Cook is an English drummer and member of the punk rock band the Sex Pistols. He was called "Cookie" by his friends on the punk music scene. Cook was raised in Hammersmith and attended the Christopher Wren School, now Phoenix High School, London in White City Estate, Shepherds Bush, where he met Steve Jones; the pair became good friends and while bunking off school. In 1972–1973, Cook and Jones, along with their school friend Wally Nightingale, formed a band, The Strand. Within the next three years The Strand evolved into the Sex Pistols. After the Sex Pistols broke up after their final concert in San Francisco on 14 January 1978, Cook and Jones worked on the soundtrack to Julien Temple's film, The Great Rock'n' Roll Swindle; the two recorded a few songs using the Sex Pistols name, Cook singing lead on the album version of the song "Silly Thing". The pair started a new band, The Professionals, with Andy Allan. Allan caused some legal problems; the Virgin Records compilation album Cash Cows, which featured The Professionals' track "Kick Down the Doors", was withdrawn.
Cook and Jones played together on Johnny Thunders' solo album, So Alone. They released four singles, recorded a self-titled LP, shelved until 1990, released I Didn't See It Coming in November 1981; the band's American tour to promote the album was cut short when band members Cook, Paul Myers, Ray McVeigh were injured in a car accident. While The Professionals did return to America in the Spring of 1982 after recovery and Myers' drug problems further hampered the band's prospects, they declined an opening spot offer on tour for The Clash, broke up. In the early 1980s, along with Jones, discovered the English new wave girl-group Bananarama. Cook helped the trio record their debut single, "Aie a Mwana", acted as a producer on their 1982 debut album Deep Sea Skiving. In the late 1980s, Cook surfaced with the group Chiefs of Relief with former Bow Wow Wow guitarist Matthew Ashman, after a period out of the music industry, played with Phil Collen in the 1990s, he reunited with the surviving Sex Pistols in 1996 for the Filthy Lucre world tour.
The Sex Pistols, including Paul Cook, played a gig for the 30th anniversary of Never Mind The Bollocks at the Brixton Academy on 8 November 2007. Due to popular demand, two further gigs were announced on 9 and 10 November, four further dates were added. In 2008, the Sex Pistols appeared at the Isle Of Wight Festival as the headlining act on the Saturday night, the Peace and Love Festival in Sweden, the Live at Loch Lomond Festival in Scotland, the Summercase Festival in Madrid. Cook drummed with Man-Raze, which featured Phil Collen from Def Leppard and their friend Simon Laffy who used to play in Collen's pre-Leppard band, Girl, they released a debut album Surreal in 2008, toured throughout the UK in late 2009. In 2011, Cook joined Vic Godard and Subway Sect, renewed his collaborations with Paul Myers from The Professionals. Cook has worked with Godard, for the past two decades, they toured throughout 2012 and, in March 2012, recorded 1978 Now with Edwyn Collins. In celebration of the release of a three disc set by Universal Music Group for 16 October 2015, with Tom Spencer filling in for Steve Jones, reunited with The Professionals for a concert at the 100 Club.
In January 2016, the band announced a three show tour for 17 to 19 March. A joint headline show featuring Rich Kids has been announced at London’s O2 Shepherds Bush Empire for 16 May; the show has been rescheduled for 23 June due to the ongoing structural work at the venue. Cook lives in Hammersmith with his wife, Jeni Cook of Culture Club, their daughter, Hollie Cook, a solo musician, he works as a session musician for Edwyn Collins. Cook played football for Hollywood United. Kick Down the Doors - Cook'n' Jones website