An acoustic guitar is a guitar that produces sound acoustically by transmitting the vibration of the strings to the air—as opposed to relying on electronic amplification. The sound waves from the strings of an acoustic guitar resonate through the guitar's body, creating sound; this involves the use of a sound board and a sound box to strengthen the vibrations of the strings. In standard tuning the guitar's six strings are tuned E2 A2 D3 G3 B3 E4; the main source of sound in an acoustic guitar is the string, plucked or strummed with the finger or with a pick. The string vibrates at a necessary frequency and creates many harmonics at various different frequencies; the frequencies produced can depend on string length and tension. The string causes the soundboard and sound box to vibrate, as these have their own resonances at certain frequencies, they amplify some string harmonics more than others, hence affecting the timbre produced by the instrument; the guitar is an ancient instrument. Many theories have been advanced about the instrument's ancestry, but the modern acoustic guitar comes from a long evolution of stringed musical instruments.
It has been claimed that the guitar is a development of the medieval instrument Vihuela as evolution of ancient Lute. Gitterns, were the first small, guitar-like instruments created during the Spanish Middle Ages with a round back, like that of the lute. Modern guitar-shaped instruments were not seen until the Renaissance era, when the body and size began to take a guitar-like shape; the earliest string instruments that related to the guitar and its structure where broadly known as the vihuelas within Spanish musical culture. Vihuelas were string instruments that were seen in the 16th century during the Renaissance. Spanish writers distinguished these instruments into two categories of vihuelas; the vihuela de arco was an instrument that mimicked the violin, the vihuela de penola was played with a plectrum or by hand. When it was played by hand it was known as the vihuela de mano. Vihuela de mano shared extreme similarities with the Renaissance guitar as it used hand movement at the sound hole or sound chamber of the instrument to create music.
By 1790 only six-course vihuela guitars were being created and had become the main type and model of guitar used in Spain. Most of the older 5-course guitars were still in use but were being modified to a six-coursed acoustical guitar. Fernando Ferandiere's book Arte de tocar la guitarra espanola por musica describes the standard Spanish guitar from his time as an instrument with seventeen frets and six courses with the first two'gut' strings tuned in unison called the terceras and the tuning named to'G' of the two strings; the acoustic guitar at this time began to take the shape familiar in the modern acoustic guitar. The coursed pairs of strings became less common in favor of single strings. Circa 1850, the form and structure of the modern Guitar is credited to Spanish guitar maker Antonio Torres Jurado, who increased the size of the guitar body, altered its proportions, invented the breakthrough fan-braced pattern. Bracing, which refers to the internal pattern of wood reinforcements used to secure the guitar's top and back to prevent the instrument from collapsing under tension, is an important factor in how the guitar sounds.
Torres' design improved the volume and projection of the instrument, it has remained unchanged since. The acoustic guitar's soundboard, or top has a strong effect on the loudness of the guitar. Woods that are good at transmitting sound, like spruce, are used for the soundboard. No amplification occurs in this process, because musician add no external energy to increase the loudness of the sound. All the energy is provided by the plucking of the string. Without a soundboard, the string would just "cut" through the air without moving it much; the soundboard increases the surface of the vibrating area in a process called mechanical impedance matching. The soundboard can move the air much more than the string alone, because it is large and flat; this increases the entire system's energy transfer efficiency, musicians emit a much louder sound. In addition, the acoustic guitar has a hollow body, an additional coupling and resonance effect increases the efficiency of energy transmission in lower frequencies.
The air in a guitar's cavity soundboard. At low frequencies, which depend on the size of the box, the chamber acts like a Helmholtz resonator, increasing or decreasing the volume of the sound again depending on whether the air in the box moves in phase or out of phase with the strings; when in phase, the sound increases by about 3 decibels. In opposing phase, it decreases about 3 decibels; as a Helmholtz resonator, the air at the opening is vibrating in or out of phase with the air in the box and in or out of phase with the strings. These resonance interactions attenuate or amplify the sound at different frequencies, boosting or damping various harmonic tones; the cavity air vibrations couple to the outside air through the sound hole, though some variants of the acoustic guitar omit this hole, or have f holes, like a violin family instrument. This coupling is most efficient because here the impedance matching is perfect: it is air pushing air. A guitar has several sound coupling modes: string to
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
Backing vocalists or backup singers are singers who provide vocal harmony with the lead vocalist or other backing vocalists. In some cases, a backing vocalist may sing alone as a lead-in to the main vocalist's entry or to sing a counter-melody. Backing vocalists are used in a broad range of popular music, traditional music and world music styles. Solo artists may employ professional backing vocalists in studio recording sessions as well as during concerts. In many rock and metal bands, the musicians doing backing vocals play instruments, such as guitar, electric bass, drums, or keyboards. In Latin or Afro-Cuban groups, backing singers may play percussion instruments or shakers while singing. In some pop and hip-hop groups and in musical theater, the backing singers may be required to perform elaborately choreographed dance routines while they sing through headset microphones; the style of singing used by backing singers varies according to the type of song and the genre of music the band plays.
In pop and country songs, backing vocalists may perform vocal harmony parts to support the lead vocalist. In hardcore punk or rockabilly, other band members who play instruments may sing or shout backing vocals during the chorus section of the songs. Alternative terms for backing vocalists include backing singers, backing vocals, additional vocals or in the United States and Canada, backup singers or sometimes background singers or harmony vocalists. While some bands use performers whose sole on-stage role is performing backing vocals, it is common for backing singers to have other roles. Two notable examples of band members who sang back-up are The Beatles; the Beach Boys were well known for their close vocal harmonies with all five members singing at once such as "In My Room" and "Surfer Girl". All five members would sing lead, although most Brian Wilson or Mike Love would sing lead with guitarists Carl Wilson and Al Jardine and drummer Dennis Wilson singing background harmonies; the Beatles were known for their close style of vocal harmonies – all Beatles members sang both lead and backing vocals at some point John Lennon and Paul McCartney, who supported each other with harmonies with fellow Beatle George Harrison joining in.
Ringo Starr, while not as prominent in the role of backing singer as his three bandmates due to his distinctive voice, can be heard singing backing vocals in such tracks as "The Continuing Story of Bungalow Bill" and "Carry That Weight". Examples of three-part harmonies by Lennon, McCartney and Harrison include "Nowhere Man", "Because", "Day Tripper", "This Boy"; the members of Crosby, Nash & Young and Bee Gees all each wrote songs and sang back-up or lead vocals and played various instruments on their albums and various collaborations with each other. Former guitarist John Frusciante and current guitarist Josh Klinghoffer of the Red Hot Chili Peppers sing nearly all backing vocals singing some parts without accompaniment from lead vocalist Anthony Kiedis; the band's bassist Flea filled in for additional vocals. Frusciante sang one song by himself during concerts. Another example is "No Frontiers" by The Corrs, sung by Sharon and Caroline. Other backing vocalists include rhythm guitarist Sebastien Lefebvre & bass guitarist David Desrosiers of pop punk band Simple Plan, guitarist John Petrucci of Dream Theater, lead guitarist Kirk Hammett & bass guitarist Robert Trujillo of Metallica, guitarists Zacky Vengeance & Synyster Gates and of heavy metal band Avenged Sevenfold.
In the recording studio, some lead singers record their own backing vocals by overdubbing with a multitrack recording system. A multitrack recording system enables the record producer to add many layers of recordings over top of each other. Using a multitrack system, a lead vocalist can record his or her own backing vocals, record the lead vocal part over top; some lead vocalists prefer this approach because the sound of their own harmonies will blend well with their main vocal. One famous example is Freddie Mercury of Queen singing the first part of "Bohemian Rhapsody" himself by overdubbing. Patrick Stump of Fall Out Boy, Tom DeLonge of Angels and Airwaves, Wednesday 13 in his own band and Murderdolls, Ian Gillan of Deep Purple, Simon Le Bon of Duran Duran and Brad Delp of Boston recorded lead and backing vocals for their albums. With the exception of a few songs on each album, Dan Fogelberg, Eddie Rabbitt, David Bowie and Richard Marx sing all of the background vocals for their songs. Robert Smith of the Cure not only sings his own backing vocals in the studio, but doesn't perform with backing vocalists when playing live.
Many metalcore and some post-hardcore bands, such as As I Lay Dying, Haste the Day and Silverstein feature a main vocalist who performs using harsh vocals, whilst the backing vocalist sings harmonies during choruses to create a contrast. Some bands, such as Hawthorne Heights and Finch have the backing singers do harsh vocals to highlight specific lyrics. Pop and R&B vocalists such as Diana Ross, Ariana Grande, Mariah Carey, Michael Jackson, Janet Jackson, Beyoncé Knowles, Faith Evans, D'Angelo, Mary J. Blige and Amerie have become known for not only recording their own backing vocals, but for arranging their own multi-tracked vocals and developing complex harmonies and arrangements; when they perform live, they may have backing vocalists. Some bands use backing vocals in order to contrast with the lead singer who may be performing an unusual vocal technique. For example, Brian "Head" Welch, the lead guitarist of the band Korn, performed backin
A keyboard instrument is a musical instrument played using a keyboard, a row of levers which are pressed by the fingers. The most common of these are the piano and various electronic keyboards, including synthesizers and digital pianos. Other keyboard instruments include celestas, which are struck idiophones operated by a keyboard, carillons, which are housed in bell towers or belfries of churches or municipal buildings. Today, the term keyboard refers to keyboard-style synthesizers. Under the fingers of a sensitive performer, the keyboard may be used to control dynamics, shading and other elements of expression—depending on the design and inherent capabilities of the instrument. Another important use of the word keyboard is in historical musicology, where it means an instrument whose identity cannot be established. In the 18th century, the harpsichord, the clavichord, the early piano were in competition, the same piece might be played on more than one. Hence, in a phrase such as "Mozart excelled as a keyboard player," the word keyboard is all-inclusive.
The earliest known keyboard instrument was the Ancient Greek hydraulis, a type of pipe organ, invented in the third century BC. The keys were balanced and could be played with a light touch, as is clear from the reference in a Latin poem by Claudian, who says magna levi detrudens murmura tactu... intent, “let him thunder forth as he presses out mighty roarings with a light touch”. From its invention until the fourteenth century, the organ remained the only keyboard instrument; the organ did not feature a keyboard at all, but rather buttons or large levers operated by a whole hand. Every keyboard until the fifteenth century had seven naturals to each octave; the clavichord and the harpsichord appeared during the fourteenth century—the clavichord being earlier. The harpsichord and clavichord were both common until widespread adoption of the piano in the eighteenth century, after which their popularity decreased; the piano was revolutionary because a pianist could vary the volume of the sound by varying the vigor with which each key was struck.
The piano's full name is gravicèmbalo con piano e forte meaning harpsichord with soft and loud but can be shortened to piano-forte, which means soft-loud in Italian. In its current form, the piano is a product of the late nineteenth century, is far removed in both sound and appearance from the "pianos" known to Mozart and Beethoven. In fact, the modern piano is different from the 19th-century pianos used by Liszt and Brahms. See Piano history and musical performance. Keyboard instruments were further developed in the early twentieth century. Early electromechanical instruments, such as the Ondes Martenot, appeared early in the century; this was a important contribution to the keyboard's history. Much effort has gone into creating an instrument that sounds like the piano but lacks its size and weight; the electric piano and electronic piano were early efforts that, while useful instruments in their own right, did not convincingly reproduce the timbre of the piano. Electric and electronic organs were developed during the same period.
More recent electronic keyboard designs strive to emulate the sound of specific make and model pianos using digital samples and computer models. Each acoustic keyboard contains 88 keys. Weighted keys, found on electronic keyboards, are designed to simulate the resistance of a key on an acoustic keyboard, via pressurization. There are 4 types of weighted keys. Keybeds, or non-weighted keys place the weights within the base of the keyboard; the second type, Semi-weighted uses springs, the third type is hammer keys. Most electronic keyboards use the fourth type: graded simulate keys. Weighted keys are made of wood, or metal/wood substitute. Enharmonic keyboard Musical instrument Orchestrina di camera Piano Symphony Young, Percy M. Keyboard Musicians of the World. London: Abelard-Schuman, 1967. N. B.: Concerns celebrated keyboard players and the various such instruments used over the centuries. ISBN 0-200-71497-X The general keyboard in the age of MIDI Renaissance Keyboards on the Heilbrunn Timeline of Art History, The Metropolitan Museum of Art The Pianofortes of Bartolomeo Cristofori on the Heilbrunn Timeline of Art History, The Metropolitan Museum of Art
A drum kit — called a drum set, trap set, or drums — is a collection of drums and other percussion instruments cymbals, which are set up on stands to be played by a single player, with drumsticks held in both hands, the feet operating pedals that control the hi-hat cymbal and the beater for the bass drum. A drum kit consists of a mix of drums and idiophones – most cymbals, but can include the woodblock and cowbell. In the 2000s, some kits include electronic instruments. Both hybrid and electronic kits are used. A standard modern kit, as used in popular music and taught in music schools, contains: A snare drum, mounted on a stand, placed between the player's knees and played with drum sticks A bass drum, played by a pedal operated by the right foot, which moves a felt-covered beater One or more toms, played with sticks or brushes A hi-hat, played with the sticks and closed with left foot pedal One or more cymbals, mounted on stands, played with the sticksAll of these are classified as non-pitched percussion, allowing the music to be scored using percussion notation, for which a loose semi-standardized form exists for both the drum kit and electronic drums.
The drum kit is played while seated on a stool known as a throne. While many instruments like the guitar or piano are capable of performing melodies and chords, most drum kits are unable to achieve this as they produce sounds of indeterminate pitch; the drum kit is a part of the standard rhythm section, used in many types of popular and traditional music styles, ranging from rock and pop to blues and jazz. Other standard instruments used in the rhythm section include the piano, electric guitar, electric bass, keyboards. Many drummers extend their kits from this basic configuration, adding more drums, more cymbals, many other instruments including pitched percussion. In some styles of music, particular extensions are normal. For example, some rock and heavy metal drummers make use of double bass drums, which can be achieved with either a second bass drum or a remote double foot pedal; some progressive drummers may include orchestral percussion such as gongs and tubular bells in their rig. Some performers, such as some rockabilly drummers, play small kits that omit elements from the basic setup.
Before the development of the drum set and cymbals used in military and orchestral music settings were played separately by different percussionists. In the 1840s, percussionists began to experiment with foot pedals as a way to enable them to play more than one instrument, but these devices would not be mass-produced for another 75 years. By the 1860s, percussionists started combining multiple drums into a set; the bass drum, snare drum and other percussion instruments were all struck with hand-held drum sticks. Drummers in musical theater shows and stage shows, where the budget for pit orchestras was limited, contributed to the creation of the drum set by developing techniques and devices that would enable them to cover the roles of multiple percussionists. Double-drumming was developed to enable one person to play the bass and snare with sticks, while the cymbals could be played by tapping the foot on a "low-boy". With this approach, the bass drum was played on beats one and three. While the music was first designed to accompany marching soldiers, this simple and straightforward drumming approach led to the birth of ragtime music when the simplistic marching beats became more syncopated.
This resulted in dance feel. The drum set was referred to as a "trap set", from the late 1800s to the 1930s, drummers were referred to as "trap drummers". By the 1870s, drummers were using an "overhang pedal". Most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05. Liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist; the bass drum became the central piece around which every other percussion instrument would revolve. William F. Ludwig, Sr. and his brother, Theobald Ludwig, founded the Ludwig & Ludwig Co. in 1909 and patented the first commercially successful bass drum pedal system, paving the way for the modern drum kit. Wire brushes for use with drums and cymbals were introduced in 1912; the need for brushes arose due to the problem of the drum sound overshadowing the other instruments on stage.
Drummers began using metal fly swatters to reduce the volume on stage next to the other acoustic instruments. Drummers could still play the rudimentary snare figures and grooves with brushes that they would play with drumsticks. By World War I, drum kits were marching band-style military bass drums with many percussion items suspended on and around them. Drum kits became a central part of jazz Dixieland; the modern drum kit was developed in the vaudeville era during the 1920s in New Orleans. In 1917, a New Orleans band called "The Original Dixieland Jazz Band " recorded jazz tunes that became hits all o
Diane Eve Warren is an American songwriter. She rose to prominence in 1983, has since written songs for and co-written songs with multiple singers, as well as for several films. Warren has had 32 top 10 songs on the Billboard Hot 100 chart. Additionally, two of the top 13 hits in the Hot 100's 57-year history were written by her. Warren's career catapulted in the late 1980s shortly after joining forces with the UK music company EMI when Warren became the first songwriter in the history of Billboard magazine to have seven hits, all by different artists, on the singles chart at the same time prompting the UK's former Chairman of EMI Music Publishing Peter Reichardt to credit her as "the most important songwriter in the world", she has been rated the third most successful female artist in the UK. Warren has won a Grammy Award, an Emmy Award, a Golden Globe Award, three consecutive Billboard Music Awards for Songwriter of the Year, has been nominated for ten Academy Awards, she has been inducted into the Songwriters Hall of Fame and received a star on the Hollywood Walk of Fame.
Her UK success saw her win an Ivor Novello Award from the British Academy of Songwriters and Authors when she received the Special International Award in 2008. Warren owns a publishing company, which gives her control over her compositions. Warren, the youngest of three daughters, was born to David, an insurance salesman, Flora Warren, in the Los Angeles community of Van Nuys, where she said she felt misunderstood and "alienated" as a Jewish child growing up, her family's surname "Warren" was "Wolfberg", but her father changed the name because it sounded too Jewish. Warren says she was rebellious as a child and told NPR's Scott Simon that she got into trouble and ran away as a teen but returned because she missed her cat; as a child, Warren loved dreamed of performing on the radio herself. She was influenced by music through her parents and her sisters who would play music, she began writing music when she was 11 but took a more serious approach at 14, commenting "music saved me." Warren has said that her mother asked her to give up her dream of a songwriting career and take a secretarial job.
However, her father encouraged her. In addition, he bought her a 12-string guitar and a metal shed for her to practice and took her to music auditions, she wrote Celine Dion's 1996 song "Because You Loved Me" as a tribute to her father for his encouragement. She attended college at Los Angeles Pierce College and California State University, Northridge but considered it a waste and spent more of her time writing songs while attending. On the February 12, 2016 edition of All Things Considered, Warren said that she had been molested at age 12, had experienced sexual harassment and assault by a sound engineer during her working career. Warren's first hit was "Solitaire", which Laura Branigan took to No. 7 in the U. S. pop charts in 1983. She's more like the Emily Dickinson of Pop; as in the case of the great nineteenth-century reclusive New England poet known for her simple yet eloquent verses, Warren leads a life focused entirely on her art. The original name for her publishing company, was "Warren Piece" because "War and Peace" was taken.
In 1998, Realsongs and its international partner, EMI Music Publishing, distributed A Passion For Music, a six-CD box set that showcased her music. EMI Music's London office assisted in distributing 1,200 copies of the box set to the film and television industry for consideration in soundtracks and other commercial endeavors, it was not marketed to consumers. As of 2011, Warren's music has appeared in the soundtracks of over sixty films, she was awarded a star in the Hollywood Walk of Fame in 2001. The Diane Warren Foundation, in conjunction with the ASCAP Foundation and the VH1 Save the Music Foundation created a joint initiative, beginning in 2000, called Music in the Schools; the initiative provides sheet music, band arrangements and method books to each of the schools that are recipients of musical instruments from the VH1 Save the Music Foundation. In 2004, Warren released a compilation album of love songs, titled Diane Warren Presents Love Songs, which includes several of her award-winning hits.
Warren continues to write hit songs for and with artists of all mainstream genres, including Whitney Houston, Britney Spears, Marcia Hines, Christina Aguilera, Beyoncé, TLC, Elton John, Tina Turner, Bryan Adams, Jessica Simpson, Air Supply, Olivia Newton-John, Barbra Streisand, Aretha Franklin, Roberta Flack, Roy Orbison, Trisha Yearwood, Patti LaBelle, Michael Bolton, NSYNC, Gloria Estefan, Reba McEntire, Enrique Iglesias, Paloma Faith, Russell Watson, Rod Stewart, RBD, The Cult, Ricky Martin, Faith Hill, Meat Loaf, Celine Dion, Mariah Carey, Toni Braxton, Exposé, Leigh Nash of Sixpence None the Richer, LeAnn Rimes, Kierra Sheard, Lady Gaga, Claire Richards, Westlife and so on, producing some of the songs as well. Her songs have been covered by artists including Joe Cocker, Edwin McCain, Milli Vanilli, Mark Chesnutt, so on. Warren wrote three songs for Carrie Underwood's debut album, Some Hearts that were "Lessons Learned", "Whenever You Remember" and the title track. In 2009, Warren co-wrote the United Kingdom's entry in the Eurovision Song Contest with Andrew Lloyd Webber the song "It's My Time".
It was sung by Jade Ewen and achieved 5th place, the best for the U. K. since 2002. In 2010, Warren partnered with Avon Products as a celebrity judge for Avon Voices, Avon's first global online singing talent search for women and songwriting competition for men and women. For the competition, Warren wrote a
Diamond Rio (album)
Diamond Rio is the eponymous first studio album of the country music band Diamond Rio. Released in 1991 on Arista Records, it produced five chart singles on the Billboard country music charts: the Number One hit "Meet in the Middle", as well as the Top Ten hits "Mirror, Mirror", "Mama Don't Forget to Pray for Me", "Norma Jean Riley" and "Nowhere Bound"; the album itself received RIAA platinum certification. "Meet in the Middle" – 3:18 "This State of Mind" – 2:42 "They Don't Make Hearts" – 3:32 "Mirror, Mirror" – 3:12 "The Ballad of Conley and Billy" – 4:59 "Nowhere Bound" – 3:41 "It's Gone" – 3:17 "Norma Jean Riley" – 3:03 "Mama Don't Forget to Pray for Me" – 4:12 "Pick Me Up" – 3:25 "Poultry Promenade" – 3:26 instrumental track Gene Johnson – mandolin, backing vocals Jimmy Olander – acoustic and electric guitars, banjo Brian Prout – drums Marty Roe – acoustic guitar, lead vocals Dan Truman – keyboards Dana Williams – bass guitar, backing vocals Chris Armstrong - assistant engineer Mike Clute - engineer, mixing Doug Williams, Ted Greene - assistant engineers Glenn Meadows - mastering Pauls Montondo - engineer