DJ-Kicks: The Black Album
DJ-Kicks: Rockers Hi-Fi is a DJ mix album, mixed by Rockers Hi-Fi. It was released on 19 May, 1997 on the Studio! K7 independent record label as part of the DJ-Kicks series; the album was compiled and mixed by Rockers Hi-Fi, with additional vocals by MC Farda P. Allmusic described the album as "a smart, thrilling ride into the minds and record collection of Rockers Hi-Fi", with an overall feel of "cinematic dub". M. Tye Comer, reviewing the album for CMJ New Music Monthly, described it as "an adventurous and mesmerizing record". "Rockers Intro" - Farda P – 0:05 "Theme From Kung Fu" - Jeff Danna – 2:15 "He Builds The World" - Small Fish with Spine – 6:20 "Feel" - Kid Loops – 5:07 "Candles & Versions" - Wraparound Sounds – 4:04 "Up Through The Down Pipe" - DJ Grizzly – 4:02 "Dub Angel" - Snooze vs DJ Cam – 1:58 "Varispeed" - Electric J – 5:40 "Callacop" - Deep Space Network – 2:59 "Long Life" - Prince Far I And The Arabs – 4:38 "Com-unique-ation" - Cee-Mix – 6:34 "Never Tell You - Rhythm & Sound – 5:47 "Twisted System" - Terminalhead & Mr. Spee – 4:42 "g13" - T Power – 0:51 "Saidisyabruklinmon" - Dr. Israel vs. Loop – 4:51 "Bad Head Day" - Lida Husik – 4:55 "Dis Ya One" - More Rockers – 6:32 "Rockers Outro" - Farda P – 0:30 "The Black Single" - Farda P – 4:06 DJ-Kicks website
DJ-Kicks: Kid Loco
DJ-Kicks: Kid Loco is a DJ mix album, mixed by Kid Loco. An electronica record, it was released on 18 October 1999 on the Studio! K7 independent record label as part of the DJ-Kicks series. "Don't You Know I'm Loco" - Kid Loco - 0:43 "Om Namah Shivaya" - The Bill Wells Octet vs. Future Pilot A. K. A. - 2:55 "Continuum" - The Cinematic Orchestra - 2:34 "Dark Light" - Emperors New Clothes - 6:05 "Mr. Flakey" - The Ted Howler Rhythm Combo - 3:16 "Theme From Conquest Of The Irrational" - DJ Vadim - 3:33 "Introspection" - Jazzanova - 5:17 "Dark Soul" - Common Ground - 4:44 "Blueski" - Underworld - 2:44 "Grimble" - Grantby - 2:44 "Jesus Christ Almighty" - Deep Season - 3:56 "Happy Cycling" - Boards of Canada - 5:07 "One" - Pelding - 2:52 "Attitude Adjuster" - Tom Tyler - 5:47 "Culture Consumers" - Tongue - 3:39 "Lovesick" - Lisa Germano - 3:01 "Slo Jo" - Stereotyp - 4:28 "Flyin' On 747" - Kid Loco - 4:59 DJ-Kicks website
DJ-Kicks: Erlend Øye
DJ-Kicks: Erlend Øye is a DJ mix album, mixed by Erlend Øye. It was released on 19 April 2004 on the Studio! K7 independent record label as part of the DJ-Kicks series. All vocals on the a cappella tracks are performed by Øye; the album was awarded a silver certification from the Independent Music Companies Association which indicated sales of at least 30,000 copies throughout Europe. Online music magazine Pitchfork placed Erlend Øye's DJ-Kicks at number 148 on its list of top 200 albums of the 2000s. Erlend Øye DJ-Kicks
A DJ mix or DJ mixset is a sequence of musical tracks mixed together to appear as one continuous track. DJ mixes are performed using a DJ mixer and multiple sounds sources, such as turntables, CD players, digital audio players or computer sound cards, sometimes with the addition of samplers and effects units, although it is possible to create one using sound editing software. DJ mixing is different from live sound mixing. Remix services were offered beginning in the late 1970s in order to provide music, more beatmixed by DJs for the dancefloor. One of the earliest DJs to refine their mixing skills was DJ Kool Herc. Francis Grasso was the first DJ to use headphones and a basic form of mixing at the New York City nightclub Sanctuary. Upon its release in 2000, Paul Oakenfold's Perfecto Presents: Another World became the biggest selling DJ mix album in the US. A DJ mixes music from genres. Other genres mixed by DJ includes hip hop and disco. Four on the floor disco beats can be used to create seamless mixes so as to keep dancers locked to the dancefloor.
Two of main characteristics of music used in DJ mixes is a dominant repetitive beats. Music mixed by DJs has a tempo which ranges from 120 bpm up to 160 bpm. A DJ mixset is performed live in front of an audience in a nightclub, party, or rave setting. Mixsets can be performed live on radio or recorded in a studio. Methods of mixing vary depending on the music genres being played. House and trance DJs tend to aim for smooth blended mixes while hip-hop DJs may use turntablism and other cutting techniques; some DJs those mixing Goa trance may prefer to mix during a break in which instead of beats, washes of synthesized sounds are combined. Further refinement to the mixing quality can be provided with harmonic mixing which avoids dissonant tones during a mix. In live situations, the progression of the DJ set is a dynamic process; the DJ chooses tracks in response to the activity on the dance floor. If the dance floor becomes less active, the DJ will make a judgement as to what track will increase dance floor activity.
This may involve changing the general mood of the set. Track choices are due, in part, to where the DJ wishes to take his or her audience. In this way, the resulting mixset is brought about through a symbiotic relationship between audience and DJ. Studio DJs have the luxury of spending more time on their mix, which leads to productions that could never be realized in real-time. Traditional DJ mixing with vinyl required the DJ sync tracks tempo and the modify each tracks volume and equalisation to create a smooth blend. DJs can use a mixer's crossfader to switch between tracks or use the volume control for each source with the crossfader permanently positioned in the middle. Mixing is done through the use of headphones and a monitor speaker or foldback as basic aids. At this basic level the DJ is required to develop a specific auditory skill where each track's tempo had to be distinguished while listening to more than one piece of music; the use of compact discs and players such as the CDJ by DJs brought technological advances for the DJ performing a mix including a readout of the bpm and a visual representation of the beat.
Modern computer technology has allowed automatic beatmatching and led to debate regarding its use, sometimes described as cheating. DJ software provides automatic key detection which simplifies harmonic mixing. To be released commercially, DJ mixes need many copyright clearances and licenses; the vast majority of DJ mixes throughout the years have only been legal in so far as the copyright holders do not choose to take legal action against the DJ for the authorized use of their material. DJs distribute their recorded mixes on CD-Rs or as digital audio files via websites or podcasts for promotional purposes. Many popular DJs release their mixes commercially on a compact disc; when DJ sets are distributed directly via the Internet, they are presented as a single unbroken audio file. Medley Segue Is a Mixset a Piece of Art? by Brent Silby ─ article provides argument to support the claim that a DJ Mixset is a form of art
DJ-Kicks: Kemistry & Storm
DJ-Kicks: Kemistry & Storm is a DJ mix album, mixed by Kemistry & Storm. It was released on 25 January 1999 on the Studio! K7 independent record label as part of the DJ-Kicks series. "Trauma" - Dom & Roland – 3:19 "Ole" - John B – 4:27 "Submerged" - Architex & DJ Loxy – 2:42 "Fuse" - Dillinja – 4:03 "Mission Accomplished" - Digital & Spirit – 3:07 "Clear Skyz" - DJ Die – 3:40 "Closing In" - Bill Riley – 3:49 "Everywhere I Go" - Sci-Clone – 4:27 "Stash" - Decoder – 5:19 "Hyaena" - Goldie – 2:45 "Uneasy" - Jonny L – 2:39 "Pressure" - John B – 5:01 "Venom" - Primary Motive – 3:39 "Space Jam" - J Majik – 4:13 "Static" - Lemon D – 5:39 "Code" - Absolute Zero & Subphonics – 4:24 "Tronik Funk" - Dillinja – 2:52 Tracks 4, 15 and 17 are mistakenly credited to "Test" on the album. Absolute Zero – Performer Architex – Performer John B. – Performer Decoder – Performer DJ Die – Performer DJ Loxy & Usual Suspects – Performer Goldie – Performer Kemistry & Storm – DJ J Majik – Performer Primary Motive – Performer Bill Riley – Performer Marc Schilkowski – Design Sci-Clone – Performer Test – Performer Chris Zippel – Mastering DJ-Kicks website
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
A 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