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
Live at Newcastle
"Live at Newcastle" is a live album by The Damned, released in 1983. The album was recorded at Newcastle's Mayfair rock club, features material from the band's albums up to and including Strawberries, released in the month this was recorded; some tracks are chants, Captain Sensible's number 1 track from 1982, "Happy Talk", is performed. The DamnedDave Vanian - vocals Captain Sensible - guitar, vocals Paul Gray - bass guitar Roman Jugg - keyboards, vocals Rat Scabies - drums "Ignite" "Disco Man" "Generals" "I Just Can't Be Happy Today" "Stranger on the Town" "Wait for the Blackout" "Bad Time for Bonzo" "Curtain Call" "Dozen Girls" "Limit Club" "Melody Lee" "Fuse" "Love Song" "Sensible's a Wanker" "Smash It Up" "Looking at You" "New Rose" "Happy Talk" "Noise Noise Noise" "Hippy Hippy Shake" "Citadel" "Ignite" "Disco Man" "Generals" "Bad Time for Bonzo" "Dozen Girls" "Love Song" "Smash It Up" "Smash It Up" "Looking At You" "New Rose" Official Damned website "Live at Newcastle" on the All Music Guide
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
Music for Pleasure (The Damned album)
Music for Pleasure is the second studio album by English punk rock band the Damned. It was released on 18 November 1977 by Stiff Records. Music for Pleasure was produced by Nick Mason of Pink Floyd; the Damned sought out former Pink Floyd member Syd Barrett, but were unsuccessful due to his reclusive lifestyle. In a brief interview for the documentary The Damned: Don't You Wish That We Were Dead, Mason reported the band were accustomed to a much faster recording schedule than he was familiar with Pink Floyd; the Damned hoped to record several songs on their first day in studio, when Pink Floyd would still be fine-tuning the microphone set-up and tuning the drums. The album featured new member Lu Edmunds on guitar alongside original guitarist Brian James, as well as guest saxophonist Lol Coxhill; the album was the last album-length studio release to feature James, who would rejoin the band in the late'80s and early'90s for a live album and studio single. It was the group's final album release on Stiff.
On this album, the band moved into more complex song structures, while maintaining the punk sound of their debut album. The sleeve was designed by Barney Bubbles. Released on 18 November 1977, Music for Pleasure failed to make the UK Top 100 album chart. At the time of its release, the album was dismissed by critics as a poor misstep. In a contemporary review, Sounds compared the album to the second albums by the Jam and the Stranglers, where the formula was to "repeat the first album with a few minor modifications, more considered production but inevitably with less freshness of impact." Sounds noted that "mostly they have extended on the four-piece Wall of Sound style of their first album. And it's not just that they've added a sax player on one track and a second guitarist in the form of the monosyllabic Lu". Sounds responded to negative reception of the album, noting that "they've been written off by many who should know better but like Mr. Vanian shouts on'Don't Cry Wolf':'Don't cry wolf, don't be a fool'".
AllMusic's brief retrospective review said "Music for Pleasure is not quite as bad as the Nick Mason production would indicate – though close." Trouser Press opined: "With added guitarist Lu Edmonds and no audible stylistic plan, the attack sounds blunted, there aren't as many great songs as on the first LP. Music for Pleasure doesn't live up to the title.". All tracks written except as noted; the DamnedDave Vanian – vocals Brian James – lead guitar, backing vocals Lu Edmunds – rhythm guitar Captain Sensible – bass, backing vocals, slide guitar Rat Scabies – drumsAdditional personnelLol Coxhill – saxophone on "You Know"TechnicalNick Mason – production Nick Griffiths – engineering Music for Pleasure at Discogs
Lyceum Theatre, London
The Lyceum Theatre is a 2,100-seat West End theatre located in the City of Westminster, on Wellington Street, just off the Strand. The origins of the theatre date to 1765. Managed by Samuel Arnold, from 1794 to 1809 the building hosted a variety of entertainments including a circus produced by Philip Astley, a chapel, the first London exhibition of waxworks displayed by Madame Tussaud. From 1816 to 1830, it served as The English Opera House. After a fire, the house was reopened on 14 July 1834 to a design by Samuel Beazley; the building was unique in. It was built by the partnership of Grissell; the theatre played opera, adaptations of Charles Dickens novels and James Planché's "fairy extravaganzas", among other works. From 1871 to 1902, Henry Irving appeared at the theatre in Shakespeare starring opposite Ellen Terry. In 1904 the theatre was completely rebuilt and richly ornamented in Rococo style by Bertie Crewe, but it retained Beazley's façade and grand portico, it played melodrama over the ensuing decades.
The building closed in 1939 and was set to be demolished, but it was saved and converted into a Mecca Ballroom in 1951, styled the Lyceum Ballroom, where many well-known bands played. The Lyceum was restored to theatrical use in 1996 by Holohan Architects. Since 1999, the theatre has hosted The Lion King. In 1765, a building was erected on an adjacent site by the architect James Payne for the exhibitions of The Society of Artists, which disbanded three years when the Royal Academy of Arts succeeded it; the building was leased out for dances and other entertainments, including musical entertainments by Charles Dibdin. Famed actor David Garrick performed there. In 1794, the composer Samuel Arnold Sr rebuilt the interior of the building, making it into a proper theatre, but through the opposition of the existing patent theatres, he was not granted a patent. Therefore, he leased it to other entertainments again, including Philip Astley, who brought his circus there when his amphitheatre was burned down at Westminster.
It was used as a chapel, a concert room, for the first London exhibition of waxworks displayed by Madame Tussauds in 1802. The theatre became a licensed house in 1809, until 1812 it was used for dramatic performances by the Drury Lane Company after the burning of their own theatre, until the erection of the new edifice, it staged one of the earliest tableaux vivants, as part of William Dimond's The Peasant Boy in 1811. In 1816, Samuel Arnold rebuilt the house to a design by Beazley and opened it as The English Opera House, but it was destroyed by fire in 1830; the house was famous for hosting the London première of Mozart's opera Così fan tutte and as the first theatre in Britain to have its stage lit by gas. During this period, the "Sublime Society of Beef Steaks,", founded in 1735 by theatre manager Henry Rich, had its home at the theatre for over 50 years until 1867; the members, who never exceeded twenty-four in number, met every Saturday night to eat beefsteaks and drink port wine. In 1834, the present house opened to the west, with a frontage on Wellington Street, under the name Theatre Royal Lyceum and English Opera House.
The theatre was again designed by Beazley and cost £40,000. The new house championed English opera rather than the Italian operas that had played earlier in the century. Composer John Barnett produced a number of works in the first few years of the theatre, including The Mountain Sylph, credited as the first modern English opera, it was followed by Fair Rosamund in 1837 and Farinelli in 1839, Blanche of Jersey here in 1840. In 1841–43, composer Michael William Balfe managed the theatre and produced National Opera here, but the venture was unsuccessful. From 1844 to 1847 the theatre was managed by husband and wife team Robert Keeley and Mary Anne Keeley, during which period the house became associated with adaptations of Charles Dickens's novels and Christmas books. For instance, an adaptation of Dickens' Martin Chuzzlewit ran for over 100 performances from 1844–45 here, a long run for the time; the Lyceum was managed by Madame Lucia Elizabeth Vestris and Charles James Mathews from 1847–55, who produced James Planché's " extravaganzas" featuring spectacular stage effects.
Their first big success was Cox. Tom Taylor's adaptation of A Tale of Two Cities, with Dickens himself as consultant, played in 1860, shortly after end of its serialisation and volume publication. Charles Fechter, who managed the theatre from 1863–67 favored spectacular productions. In 1866, Dion Boucicault's The Long Strike was produced here. Ethel Lavenu, the mother and grandmother of actors Tyrone Power, Sr. and Tyrone Power performed in a number pieces at the theatre in the 1860s. W. S. Gilbert produced three plays here. In 1863, his first professional play, Uncle Baby, premièred. In 1867, he presented his Christmas pantomime, called Harlequin Cock Robin and Jenny Wren, in 1884, he produced the drama Comedy and Tragedy. In 1889, the world's finest Italian dramatic tenor, Francesco Tamagno, appeared at the Lyceum, singing the leading role in the first London production of Giuseppe Verdi's opera Otello. Beginning in 1871, under manager Hezekiah Linthicum Bateman and his wife, Henry Irving appeared at the theatre in, among other things, many Shakespeare works.
Irving began with the French melodrama The Bells, an instant hit in which he played the ghost-haunted burgomaster. The piece ran to sell-out crowds for 150 nights, which was
The Ballroom Blitz
"The Ballroom Blitz" is a song by the British glam rock band the Sweet, written by Nicky Chinn and Mike Chapman. The song reached number one in Canada, number two in the UK Singles Chart and the Australian Chart, number five on the US Billboard Hot 100. "The Ballroom Blitz" was inspired by an incident on 27 January 1973 when the band were performing at the Grand Hall in Kilmarnock and were driven offstage by a barrage of bottles. The song was recorded at 18 Rodmarton Street, London; the song appeared on the US and Canadian versions of Desolation Boulevard but never appeared on a Sweet album in the UK, other than hits compilations. The initial guitar and drum riff of the song has similarity to a 1963 song by Bobby Comstock called "Let's Stomp"; the first known cover of "The Ballroom Blitz" was by the Les Humphries Singers in 1975, the first German single to reach #1 in New Zealand. In 1979, the song was covered by the Damned, it was released as a B-side to "I Just Can't Be Happy Today" and featured as a bonus track on their CD reissue of Machine Gun Etiquette.
Other covers include renditions by Krokus in 1984, the 1988 Surf Punks album "Oh no! Not them again.", Japanese glam rock band Scanch on their 1991 album "Ultra Romantic Bombers for Unlimited Lovers" under the title of "R&R Dynamite Kyoujidai", Christian rock band Calibretto 13 on their album Enter the Danger Brigade in 2000, Tia Carrere on the soundtrack to Wayne's World in 1992, thrash metal band Nuclear Assault on their 1991 album Out of Order. In 2016, the Struts recorded a cover of the song for the soundtrack of The Edge of Seventeen. In 2017, the Featherz covered the song on their debut album Five Year Itch; this was intended for the CD edition of their 2016 single Forget All You Know. The song has appeared in many movies, including Wayne's World, Bordello of Blood, Romanzo Criminale, Daddy Day Care and The Sandlot: Heading Home; the song was featured in the BBC television series Life on Mars. The line "she thinks she's the passionate one" from the song are dubbed into the Beastie Boys song "Hey Ladies".
The song was featured in a 2004 commercial for the Mitsubishi Galant. It was in the official soundtrack of the Ubisoft game "Shaun White Snowboarding". Since June 2016, the song has been used in public information films on the subject of smart meters surrounding gas and electricity use; the song is used in an episode of the cartoon Regular Show entitled "T. G. I. Tuesday" first airing on January 7, 2013; the opening lyrics were parodied in The The's 1989 song, "Armageddon Days Are Here" A cover version by the Struts is featured on the soundtrack of the 2016 film The Edge of Seventeen. Brian Connolly – lead vocals Steve Priest – bass guitar, backing vocals, spoken lead vocals Andy Scott – guitar, backing vocals Mick Tucker – drums, backing vocals Lyrics of this song at MetroLyrics
Shakin' All Over
"Shakin' All Over" is a song performed by Johnny Kidd & the Pirates. It was written by leader Johnny Kidd, his original recording reached #1 on the UK Singles Chart in August 1960. Kidd's recording was not a hit outside of Europe. In other parts of the world the song is better known by recordings of other artists. In 1964, a band from Plattsburgh, New York called the Twiliters recorded a live version but it did not chart. A recording by The Guess Who was released in the spring of 1965 and reached #1 in Canada, #22 in the US and #27 in Australia. Normie Rowe's 1965 version reached #1 in Australia as a double A-side with "Que Sera Sera"; the musicians who performed on the recording were Johnny Kidd, Alan Caddy, Brian Gregg, Clem Cattini and Joe Moretti. Kidd was quoted as saying: When I was going round with a bunch of lads and we happened to see a girl, a real sizzler, we used to say that she gave us'quivers down the membranes', it was a standard saying with us referring to any attractive girl. I can say that it was this more than anything that inspired me to write "Shakin' All Over".
The Twiliters, a band from Plattsburgh, New York, recorded "Shakin' All Over" live, in early 1964, before a crowd at a local skating rink called "Rollerland". Bill Kennedy, the leader of the group, had been stationed in Germany in the Air Force and had heard several songs from the UK that he wanted to record, it gained some regional success. On the flip side was a song called "Rollerland", recorded by at least two other acts; the song gained more fame after The Guess Who released it in 1965 and it became a #1 hit in Canada. This version was a #22 hit in the United States. At this time the band was named Chad Allan and the Expressions, but the record label credited the "Guess Who?" in an attempt to disguise the fact that the group was Canadian. The label thought the record would be better received if they were thought to be a British Invasion act; the actual name was revealed a few months but radio DJs continued to announce the artist as "Guess Who?". This prompted a name-change to The Guess; the Guess Who's version became a #27 hit in Australia, but another version became a national #1 hit in late 1965 for Normie Rowe.
Rowe's version was one of the biggest-selling singles of the decade in that country. Rowe had recorded his take on the song before The Guess Who, based his release on Johnny Chester's 1961 version; the song has been performed many times starting in the 1960s. The best known performances were at Woodstock in 1969 and on Live at Leeds in 1970. In Randy Bachman's autobiography, he says that when he met Who bass player John Entwistle, he was told that people got The Who and The Guess Who mixed up. Tired of being yelled at for not playing the song, the Who started playing it just to keep the crowd happy. Bachman responded that the Guess Who had the same reasons for playing "My Generation". Entwistle, a fan of 1950s and 1960s rock and roll and rockabilly music performed the song with his solo band and incorporated a bass solo into the middle of the song, accompanied only by his drummer Steve Luongo; the Guess Who version was included in the Battlefield Vietnam soundtrack. It can be heard in the 2006 Edie Sedgwick biopic, Factory Girl.
The Guess Who version was featured in a Hugo Boss XY and XX Fragrance commercial, featuring Jonathan Rhys Meyers and Bette Franke. The song was referenced in a 1975 song by The Guess Who titled "When The Band Was Singin"Shakin' All Over'". "Shakin' All Over" was featured several times in the UK TV series Heartbeat and in the first episode of the UK TV series The Royal on 19 January 2003. Shakin' All Over is the name of a CBC Television documentary on Canadian rock music in the 1950s and 1960s; the song is featured in the Mr. Bean episode "Mind the Baby, Mr. Bean". A version by Wanda Jackson appears during the end credits of Bridesmaids; the album Sea of Tears by Eilen Jewell includes the track. Musicdish.com