Delayed Reaction is Soul Asylum's 10th full-length studio album and the long-awaited follow-up to their 2006 studio release The Silver Lining. It was debuted at # 160 on Billboard, it is their first album released on 429 Records. Delayed Reaction received positive reviews from critics upon release. On Metacritic, the album holds a score of 72/100 based on 4 reviews, indicating "generally favorable reviews." All tracks written by Dave Pirner. "By the Way" was released in demo form 20 years earlier as a B-Side to the 1992 single "Somebody to Shove". S. Election Day, "I Should've Stayed in Bed" was released in 1998 on Live at the Palais Royale and "Good Morning, Good Morning" is a cover of The Beatles song from their album Sgt. Pepper's Lonely Hearts Club Band Dave Pirner – lead vocals, rhythm guitar Dan Murphy – lead guitar, backing vocals Tommy Stinson – bass Michael Bland – drums
Zachary Edward Snyder is an American film director and screenwriter. He made his feature film debut in 2004 with a remake of the 1978 horror film Dawn of the Dead. Since he has done a number of comic book and superhero films, including 300 and Watchmen, as well as the Superman film that started the DC Extended Universe, Man of Steel and its follow-ups, Batman v Superman: Dawn of Justice and Justice League, he served as co-screenwriter for 300, Sucker Punch, 300: Rise of an Empire, an executive producer for Suicide Squad and Aquaman, as co-writer of the story for Wonder Woman and Justice League. Snyder is the co-founder of Cruel and Unusual Films, a production company he established in 2004, alongside his wife Deborah Snyder and producing partner Wesley Coller. Snyder was born in Green Bay and raised in Riverside, Connecticut, his mother, Marsha Manley, was a painter and a photography teacher at Daycroft School, which Snyder attended. His father, Charles Edward "Ed" Snyder, worked as an executive recruiter.
He has an older sister and was raised as a Christian Scientist. Snyder attended Camp Owatonna in Harrison, during the summer months as a child. Snyder studied painting a year after high school at Heatherley School of Fine Art in England, although he had begun filmmaking. Afterward, Snyder attended Art Center College of Design in California. Snyder made his feature film debut with the remake of the horror film Dawn of the Dead, scored a box office hit with the fantasy war film 300, adapted from writer-artist Frank Miller's Dark Horse Comics miniseries of the same name, his Warner Bros. film Watchmen grossed $185 million worldwide. His follow-up project/animation debut titled Legend of the Guardians: The Owls of Ga'Hoole was released on September 24, 2010. Snyder produced, co-wrote, directed Sucker Punch, released on March 25, 2011; the film, based on a script written by Snyder and Steve Shibuya, was about a young woman in a mental hospital who fantasizes of escape with her fellow inmates. He directed 2013's Man of Steel for Warner Bros.
A reboot of the Superman franchise. He signed on direct a yet-to-be-produced remake of the 1969 film The Illustrated Man, produced the prequel/sequel to 300, 300: Rise of an Empire, he wants to direct a segment for an upcoming Heavy Metal 3, plans to write and direct a sequel to Legend of the Guardians. During Comic Con 2013, Snyder announced that Batman and Superman would share the screen in Batman v Superman: Dawn of Justice, released in 2016. Snyder directed, Cavill reprised his role as Superman, Ben Affleck played Batman. Snyder directed Warner Bros.' 2017 Justice League, but was replaced with Joss Whedon after having to leave during post-production to deal with the death of his daughter. As of March 2016, Snyder was working on The Last Photograph, a drama about a war photographer in Afghanistan, he is currently working on an adaptation of the 1943 novel The Fountainhead by Ayn Rand. On January 29, 2019, Snyder announced that he has signed on to helm Army of the Dead, a zombie horror thriller, for Netflix.
Snyder will direct and produce with his partner and wife, Deborah Snyder, via their newly rebranded production company, Stone Quarry. Snyder uses slow motion in and out of the fight scenes in his films, which Amy Nicholson of BoxOffice magazine remarked separates the director from other filmmakers who make multiple cuts and close-ups during a fight. A minute-long shot from 300 shows King Leonidas slaughtering his enemies, the camera zooming in and out to emphasize each kill and move Leonidas makes. Snyder lives in Pasadena with producer Deborah Johnson; the couple first met in 1996, started dating in 2002, married on September 25, 2004 at St. Bartholomew's Episcopal Church in Manhattan, New York, he was married to Denise Weber. Snyder has eight children, half of whom are adopted: Olivia, Autumn, Ezekiel, Jett and Cash, he and Denise had Olivia and Eli, adopted Willow and Autumn from China. Two younger sons and Jett, are from his relationship with Kirsten Elin, his line producer on commercials for some time.
Snyder and Deborah adopted Cash during the course of making Man of Steel. On March 12, 2017, the suicide of his daughter Autumn prompted Snyder to withdraw from post-production work on Justice League in May 2017 to be with his family. Snyder's wife Deborah Snyder has produced all of his films dating back to 300. Larry Fong and William Hoy were Snyder's cinematographer and film editor on the films 300, Watchmen and Sucker Punch. Fong is the cinematographer for Batman v Superman: Dawn of Justice. John "D. J." Desjardin was the visual effects supervisor on Watchmen, Sucker Punch, Man of Steel, Batman v Superman: Dawn of Justice and Justice League. David Brenner served as film editor on Man of Steel, Batman v Superman: Dawn of Justice, Justice League and the short film Snow Steam Iron. Critical and commercial reception to films Zack Snyder has directed as of November 26, 2017: Snyder's body of work has earned him a number of awards, including two Clio Awards and a Gold Lion Award for his Jeep "Frisbee" commercial.
He won the Society of British Advertisers Award for Humor for his controversial EB Beer commercial "General's Party." Cruel and Unusual Films – Snyder's production company Zack Snyder on IMDb Zack Snyder at the TCM Movie Database
Thomas Eugene Stinson is an American rock musician. He came to prominence in the 1980s as the bass guitarist for The Replacements, one of the definitive American alternative rock groups. After their breakup in 1991, Stinson formed Bash & Pop, acting as lead vocalist and frontman. In the mid-1990s he was the singer and bassist for the rock band Perfect, joined the hard rock band Guns N' Roses in 1998. Stinson released his debut solo album, Village Gorilla Head in 2004 and subsequently joined Soul Asylum for the completion of their album The Silver Lining, was a member of the band for the album's tour in 2006 before joining them as a permanent member until 2011, he released his second solo album, critically acclaimed One Man Mutiny, on his own Done To Death Music label in 2011. In 2016, after leaving Guns N' Roses, Stinson reunited Bash & Pop, released a new album in 2017, titled Anything Could Happen. After beginning to learn the bass at the age of 11, Stinson began playing and covering songs with his brother, Bob Stinson, drummer Chris Mars under the name "Dogbreath" without a singer.
After recruiting singer Paul Westerberg, Dogbreath changed their name to The Impediments and played a drunken performance, without Tommy, at a church hall gig in June 1980. After being banned from the venue for disorderly behavior, they changed their name to The Replacements. After signing to Twin/Tone Records, by label owner Peter Jesperson who became the group's manager, they released their debut album, Sorry Ma, Forgot to Take Out the Trash, in 1981 with an EP, following in 1982; the Replacements began to distance themselves from the hardcore punk scene after the release of Stink and, inspired by other rock subgenres, released their second album, Hootenanny, in April 1983. Hootenanny was played on over two hundred radio stations across the country, with critics acclaiming the album; the band embarked on their first tour of the U. S. in April 1983, during this time Tommy dropped out of tenth grade to join the rest of the band on tour. The band toured cities such as Detroit and Philadelphia, but their intended destination was New York City, where they played at Gerde's Folk City and Maxwell's.
For the recording of their next studio album, The Replacements decided to return to Blackberry Way Studios in late 1983 with the result being Let It Be, released in October 1984. A live album, The Shit Hits the Fans, was released in 1985. Warner Bros. Records subsidiary Sire Records signed The Replacements with their first major-label release being the Tim album, produced by Tommy Erdelyi, released in 1985. After the release of Tim, The Replacements fired Tommy's brother, Bob Stinson, as well as Jesperson the same year; the remaining Replacements carried on as a trio for Pleased to Meet Me, released in 1987, recorded in Memphis with producer Jim Dickinson. Guitarist Slim Dunlap took over lead guitar duties for the subsequent tour and soon became a full member of the band, they released Don't Tell a Soul, in 1989, which featured the song "I'll Be You", which topped Billboard's Modern Rock chart. Following a disastrous tour opening for Tom Petty and the Heartbreakers, Westerberg recorded a new album with session musicians but was persuaded to release it as a Replacements album.
All Shook Down, released in 1990, won critical praise and more mainstream attention, though the many guest players and Mars's quick departure from the band following the album's release led many to wonder about the band's future. Drummer Steve Foley was recruited as Mars's replacement in 1990, the band embarked on a long farewell tour which lasted into the summer of 1991. On July 4, 1991, the band broke up following a Taste of Chicago performance in Grant Park, referred to by fans as "It Ain't Over'Til the Fat Roadie Plays" because each member disappeared during the set, their respective roadies taking their places; this show was broadcast by Chicago radio station WXRT. In December 2005, he reunited with his surviving Replacements band mates Paul Westerberg and original drummer Chris Mars to record two new songs for a greatest-hits collection. Stinson further collaborated with Westerberg on the soundtrack to the Sony feature film Open Season, recording bass tracks for'Love You in the Fall' and'Right to Arm Bears'.
On September 20, 2012, Stinson and Westerberg recorded "Busted Up" as part of the "Songs For Slim" vinyl series. The project was created to raise money for guitarist Slim Dunlap after he suffered a massive stroke in February 2012, they recorded three additional songs, released as the "Songs For Slim EP", the band's first release of all newly recorded music since "All Shook Down". A subsequent eBay auction of a special edition 10" version of the EP, limited to 250, raised over $106,000 for Slim's care; the band reunited in 2013 to play their first live show in 22 years at Riot Fest in Chicago. Former Guns N' Roses bandmate. After a tour that lasted through 2015, the Replacements broke up again, with Stinson stating that any material written would be reworked for his solo career. With a name selected from a contest hosted by New York radio station WDRE, Stinson, on guitar and lead vocals, formed his first post-Replacements group Bash & Pop in 1992 with drummer Steve Foley being added to the group formerly of The Replacements, along with his brother Kevin on bass and guitarist Steve Brantseg.
Rumors were that Bash & Pop were a band in name only with Stinson recording the album, Friday Night Is Killing Me by himself along with a number of guest musicians. Steve and Brantseg all contributed to the album, Friday Night Is Killing Me, along with
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
Time's Incinerator is the second album to be released by Soul Asylum in 1986. It is a rare cassette-only release which contains b-sides and demos from the Soul Asylum and the former Loud Fast Rules days; the album name comes from Soul Asylum's song "Can't Go Back" from the album Made To Be Broken, where the lyrics are "fifteen years caught in time's incinerator... yesterday's worries are today's". The five songs were outtakes from their 1984 debut album, Say What You Will... Everything Can Happen; these songs made it to the 1988 CD release of the album, titled, Say What You Will, Clarence... Karl Sold the Truck; the final song on side two is an improvised live track by Madison, WI Hardcore band Mecht Mensch during equipment troubles at a shared gig. Side one"Dragging Me Down"* "Freeway" "Broken Glass"* "Goin' Down" "The Snake" "Hot Pants" "Job for Me" "Swingin'" "Take It to the Root" "Fearless"Side two"Do You Know"* "Spacehead"* "Cocaine Blues" "Out of Style" "Nowhere to Go" "Hey Bird" "Friends" "Ramblin' Rose" "Your Clock" "Masquerade"* "Soul Asylum" "Cocaine Blues" "Freeway" "Your Clock" "Goin' Down" "Job for Me"
Playlist: The Very Best of Soul Asylum
Playlist: The Very Best of Soul Asylum is a compilation album containing 14 of the greatest hits by Soul Asylum. The album is part of the Playlist album series issued by Legacy Recordings; the disc contains live recordings of the songs "Never Really Been", "Without a Trace" and "I Will Still Be Laughing", as well as the song "By the Way" released only as a B-side on the Runaway Train single. All songs written by Dave Pirner. "Never Really Been" - 3:12 "Cartoon" - 3:53 "Easy Street" - 3:36 "Somebody to Shove" - 3:14 "Runaway Train" - 4:25 "By the Way" - 3:44 "Black Gold" - 3:55 "Sexual Healing" - 4:41 "Misery" - 4:26 "Without a Trace" - 3:18 "Just Like Anyone" - 2:48 "When I Ran Off and Left Her" - 3:57 "I Will Still Be Laughing" - 3:44 "Stand Up and Be Strong" - 4:24
Columbia Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, the North American division of Japanese conglomerate Sony. It was founded in 1887, evolving from the American Graphophone Company, the successor to the Volta Graphophone Company. Columbia is the oldest surviving brand name in the recorded sound business, the second major company to produce records. From 1961 to 1990, Columbia recordings were released outside North America under the name CBS Records to avoid confusion with EMI's Columbia Graphophone Company. Columbia is one of Sony Music's four flagship record labels, alongside former longtime rival RCA Records, as well as Arista Records and Epic Records. Artists who have recorded for Columbia include Harry Styles, AC/DC, Louis Armstrong, Tony Bennett, Beyoncé, Dave Brubeck, The Byrds, Johnny Cash, Mariah Carey, The Chainsmokers, The Clash, Miles Davis, Rosemary Clooney, Neil Diamond, Celine Dion, Bob Dylan, Wind & Fire, Duke Ellington, 50 Cent, Erroll Garner, Benny Goodman, Adelaide Hall, Billy Joel, Janis Joplin, John Mayer, George Michael, Billy Murray, Pink Floyd, Lil Nas X, Frank Sinatra and Garfunkel, Bessie Smith, Bruce Springsteen, Barbra Streisand, Andy Williams, Pharrell Williams, Bill Withers, Paul Whiteman, Joe Zawinul The Columbia Phonograph Company was founded in 1887 by stenographer and New Jersey native Edward D. Easton and a group of investors.
It derived its name from the District of Columbia. At first it had a local monopoly on sales and service of Edison phonographs and phonograph cylinders in Washington, D. C. Maryland, Delaware; as was the custom of some of the regional phonograph companies, Columbia produced many commercial cylinder recordings of its own, its catalogue of musical records in 1891 was 10 pages. Columbia's ties to Edison and the North American Phonograph Company were severed in 1894 with the North American Phonograph Company's breakup. Thereafter it sold only phonographs of its own manufacture. In 1902, Columbia introduced a molded brown wax record, to use up old stock. Columbia introduced black wax records in 1903. According to one source, they continued to mold brown waxes until 1904 with the highest number being 32601, "Heinie", a duet by Arthur Collins and Byron G. Harlan; the molded brown waxes may have been sold to Sears for distribution. Columbia began selling disc records and phonographs in addition to the cylinder system in 1901, preceded only by their "Toy Graphophone" of 1899, which used small, vertically cut records.
For a decade, Columbia competed with both the Edison Phonograph Company cylinders and the Victor Talking Machine Company disc records as one of the top three names in American recorded sound. In order to add prestige to its early catalog of artists, Columbia contracted a number of New York Metropolitan Opera stars to make recordings; these stars included Marcella Sembrich, Lillian Nordica, Antonio Scotti and Edouard de Reszke, but the technical standard of their recordings was not considered to be as high as the results achieved with classical singers during the pre–World War I period by Victor, England's His Master's Voice or Italy's Fonotipia Records. After an abortive attempt in 1904 to manufacture discs with the recording grooves stamped into both sides of each disc—not just one—in 1908 Columbia commenced successful mass production of what they called their "Double-Faced" discs, the 10-inch variety selling for 65 cents apiece; the firm introduced the internal-horn "Grafonola" to compete with the popular "Victrola" sold by the rival Victor Talking Machine Company.
During this era, Columbia used the "Magic Notes" logo—a pair of sixteenth notes in a circle—both in the United States and overseas. Columbia stopped recording and manufacturing wax cylinder records in 1908, after arranging to issue celluloid cylinder records made by the Indestructible Record Company of Albany, New York, as "Columbia Indestructible Records". In July 1912, Columbia decided to concentrate on disc records and stopped manufacturing cylinder phonographs, although they continued selling Indestructible's cylinders under the Columbia name for a year or two more. Columbia was split into one to make records and one to make players. Columbia Phonograph was moved to Connecticut, Ed Easton went with it, it was renamed the Dictaphone Corporation. In late 1922, Columbia went into receivership; the company was bought by its English subsidiary, the Columbia Graphophone Company in 1925 and the label, record numbering system, recording process changed. On February 25, 1925, Columbia began recording with the electric recording process licensed from Western Electric.
"Viva-tonal" records set a benchmark in tone and clarity unequaled on commercial discs during the 78-rpm era. The first electrical recordings were made by Art Gillham, the "Whispering Pianist". In a secret agreement with Victor, electrical technology was kept secret to avoid hurting sales of acoustic records. In 1926, Columbia acquired Okeh Records and its growing stable of jazz and blues artists, including Louis Armstrong and Clarence Williams. Columbia had built a catalog of blues and jazz artists, including Bessie Smith in their 14000-D Race series. Columbia had a successful "Hillbilly" series. In 1928, Paul Whiteman, the nation's most popular orchestra leader, left Victor to record for Columbia. During the same year, Columbia executiv