Brand X are a jazz fusion band formed in London in 1975. They were active until 1980, followed by a reformation between 1992–1999. Noted members included Percy Jones, Robin Lumley and Phil Collins. Goodsall and Jones were the sole constant members throughout the band's existence. In 2016, Goodsall and Kenwood Dennard reunited with new musicians Chris Clark on keyboards and Scott Weinberger on percussion. In December 1974, Genesis drummer Phil Collins was invited to rehearsals with a developing five-piece instrumental jazz fusion group at Island Studios in London, which included Percy Jones on bass, they had secured a recording deal with Island Records and prepared tracks for a studio album which included vocals. However, the vocals were negatively received from Island management, leaving the group to write new material, at the suggestion of Island A&R man Richard Williams. After Collins left for Genesis commitments, the line-up changed from Jones, John Goodsall on guitar, Robin Lumley on keyboards and vocals, Pete Bonas on guitar, John Dillon on drums and percussion, to a departing Bonas and Dillon, the latter replaced by Phil Spinelli for a short time before a newly available Collins took his place in April 1975.
The four recorded Unorthodox Behaviour in September and October 1975 at Trident Studios with Jack Lancaster on saxophone. They were named Brand X after Island Records staffer Danny Wilding wrote down "Brand X" to keep track of their activity on the studio calendar, the name stuck. In preparation for their upcoming gigs, the four were joined by Geoff Seopardi on percussion by December 1975. Having secured Genesis manager Tony Smith as their manager, the album was released in June 1976 on Charisma Records, the album reached No. 191 on the US Billboard 200. Brand X played their first gigs with a series of low key warm-up shows in November and December 1975; these were followed by a full-scale tour across the UK from February 1976 on the college circuit. They had little funds, resorting to renting a synthesiser and PA system, operated with a small road crew, played support for the headlining act. In December 1976, the band returned to Trident Studios to record their second album Moroccan Roll, by which time percussionist Morris Pert joined the band full-time.
They had employed Gaspar Lawal, Bill Bruford, Preston Heyman for the position, but each operated in an unofficial capacity. Moroccan Roll was released in April 1977 and peaked at No. 37 in the UK and No. 125 in the US. With Collins leaving the group for Genesis commitments, Kenwood Dennard of Pat Martino's group was recruited in New York City in time for their 32-date US tour in May and June 1977. Collins returned in 1977 for a series of dates, including a spot at the tenth Crystal Palace Garden Party in London and the Fête de l'Humanité in Paris on the same day on a specially chartered plane, the latter attended by an estimated 200,000 people. Recordings produced on the 1976 and 1977 dates were used to make up the live album Livestock. A second US tour followed late again with Dennard replacing Collins on drums; the following year saw the departure of Lumley and Dennard, the band recruited keyboardist J. Peter Robinson and drummer Chuck Burgi, following which they recorded their third album, Masques.
In late July 1978, Goodsall contracted tendonitis. As a result, the band played with guitarist Mike Miller for the rest of the year, though he did play one or two shows with them in the year. In 1979, following the departure of Burgi, both Lumley and Collins returned to the group, along with bassist John Giblin and drummer Mike Clark; the band commenced a series of recording sessions in April 1979, which would generate enough material for two albums, 1979's Product and 1980's Do They Hurt?. These took place at Startling Studios, located in Ringo Starr's countryside home, with two distinct line-ups made up of the eight band members operating in alternation; as Percy Jones explained: "Our record and management companies were both complaining about poor record sales and telling us we had to make the music more accessible. Some of the guys agreed to go along with this, but I felt, that to do this would not generate a new audience but would just alienate the one that we had; the only solution was to have two bands, one being more accessible and the other being more experimental.
For my stuff the lineup was Robinson, Goodsall and me. We recorded in shifts, ours was 8pm to 4am and the others, 10am to 6pm". Following the completion of the two albums and Pert departed the band, the remaining six members recorded another album, 1982's Is There Anything About?, which would be the final album to feature both Lumley and Collins, which would not be released until two and a half years after the band's dissolution. Following the completion of the recording sessions, the band embarked on a world tour, following which Collins departed for the final time. Clark returned to the drum stool, the band toured the UK in April and May 1980. Following this tour, the band dissolved. After Brand X's 1979 world tour, Goodsall had moved to Los Angeles and worked as a session musician, as a member of the band Zoo Drive, which included Doug Lunn, Paul Delph and Spinal Tap drummer Ric Parnell. Goodsall and Ric Parnell have created music together for many years. Parnell was instrumental in helping Goodsall get beyond the London/UK music scene.
Some notable recordings from this time include the Atomic Rooster album Nice'n' Greasy in 1973. Goodsall has performed and/or recorded wit
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
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; 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 short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Mick Rogers (musician)
Mick Rogers is an English rock guitarist and songwriter, chiefly known for his time with Manfred Mann's Earth Band from 1971 to 1975, from 1983 to the present. His father was his uncle a string bass player; the young Rogers was weaned on roll. Before MMEB he was a member of The Vision, which backed Adam Faith, the Australian bands The Playboys and Procession. After his initial departure from MMEB in 1975, he returned to Australia to work and returned to the UK, where he formed the band Aviator with drummer Clive Bunker, they released two albums. Rogers has released two solo albums, Back to Sharabang. Mick Rogers official website Discogs.com
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
Turbulence (Aviator album)
Turbulence is the second and last album by rock band Aviator. All tracks composed by Aviator.