To the Moon and Back (Savage Garden song)
"To the Moon and Back" is a song by Australian pop duo Savage Garden. It was released in Australia on 4 November 1996 as the second single from their self-titled 1997 album, it was the follow up to their hit "I Want You". It won the 1997 ARIA Music Award for Song of the Year; the song became a Top 3 hit on the UK Singles Chart, a Top 25 hit on the US Billboard Hot 100, was the band's first number one in their native country. While it did not have the success in America that "I Want You" did, the runaway success of its follow up "Truly Madly Deeply" inspired Savage Garden and Columbia Records to remix "To the Moon and Back" and release it again in 1998. After the international success of their debut single, "I Want You", there were high expectations for the song as its follow-up. During the song's first charting in America, the song entered the Top 40 of the Hot 100 for only one week, peaking at number 37 the final week of August 1997. In the United Kingdom, the single was released in late September 1997, there it failed to chart in the Top 40, stalling at number 55 for one week.
Subsequently, "Truly Madly Deeply" became an bigger hit than their debut, hitting the number one spot in several countries, including both the Hot 100 and the Hot Adult Contemporary charts in the United States, where it broke the record as the longest-running single to that time on the Adult Contemporary charts. In the wake of such success, the band decided the song had greater potential to become a hit than its first chartings had borne out, so instead of mining a fourth single from the album as they had for the Australian market, they decided to mix a shorter edit of "To the Moon and Back" and re release it internationally in 1998; this time the song peaked at number 24 in America, an improvement upon its first release yet still not the smash they had hoped it would be. In the United Kingdom, their faith was rewarded when the song debuted at number three, becoming Savage Garden's biggest hit in the country; this prompted the re release of their debut single, remixed as "I Want You'98". The single was certified Silver in France in 1998,and sold 209,000.
The song deals with the feeling of just being loved. Its about waiting for someone to come to you so you can be with them, it has been described as one of the band's darkest songs. There have been three different music videos for the song; the first, accompanying the Australian release of the song, was directed by Catherine Caines and Chris Bentley, was shot in black and white. This version features Darren Hayes and Daniel Jones performing on what appears to be a space vessel, whilst a female passenger watches. A version of the video accompanied by a dance remix of the track was released; the second, accompanying the United States and original United Kingdom release of the song, was directed by Nigel Dick in Los Angeles, features Darren and Daniel performing in an apartment in Malibu whilst a female records the performance. This American video features Hayes with long hair; the third version, accompanying the re-release of 1998, was filmed in New York, features a sad-looking teenage girl traveling by the metro to meet her friends.
This video features Hayes with short hair, is the most well-known of the three versions
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
Crash and Burn (Savage Garden song)
"Crash and Burn" is a song by Australian pop group Savage Garden from their second album Affirmation, released as the album's third single in the beginning of 2000. It reached the top 20 in Australia, New Zealand, the United Kingdom, as well as number 24 on the US Billboard Hot 100; the video is shot in a fantastical theme, featuring scenes of troubled young adults interspersed with scenes of the group singing in a warehouse. Messages such as "stay connected" and lyrics from the song, such as "fall apart" appear on the screen. At the end of the video, Hayes uses Auslan to sing the last lyrics of the song; the song’s lyrics describe the difficult search for solace and meaningful relationships in a cold world, peaking in a chorus that argues it is fine to “crash and burn” during tough times in order to get over heartache and pain. In a June 2017 interview, singer Darren Hayes described it as one of his favourite Savage Garden songs: "Musically it’s a dear song to me, because it’s all the words I wished someone would have said to me during the period after the first Savage Garden album."
CD1 "Crash and Burn" – 3:50 "Two Beds and a Coffee Machine" – 3:26 "Gunning Down Romance" – 6:05CD2 "Crash and Burn" – 4:41 "I Don't Care" – 4:10 "Crash and Burn" – 4:42Cassette "Crash and Burn" – 3:50 "Two Beds and a Coffee Machine" – 3:26 "Crash and Burn" – 4:41 "I Knew I Loved You" – 8:25 "I Knew I Loved You" – 6:03 Single CD "Crash and Burn" – 4:41 "I Don't Care" – 4:10Maxi-CD "Crash and Burn" – 4:41 "I Knew I Loved You" – 5:58 "Gunning Down Romance" – 6:05 "I Knew I Loved You" – 4:24
The guitar is a fretted musical instrument that has six strings. It is played with both hands by strumming or plucking the strings with either a guitar pick or the finger/fingernails of one hand, while fretting with the fingers of the other hand; the sound of the vibrating strings is projected either acoustically, by means of the hollow chamber of the guitar, or through an electrical amplifier and a speaker. The guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning; the modern guitar was preceded by the gittern, the vihuela, the four-course Renaissance guitar, the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument. There are three main types of modern acoustic guitar: the classical guitar, the steel-string acoustic guitar, the archtop guitar, sometimes called a "jazz guitar"; the tone of an acoustic guitar is produced by the strings' vibration, amplified by the hollow body of the guitar, which acts as a resonating chamber.
The classical guitar is played as a solo instrument using a comprehensive finger-picking technique where each string is plucked individually by the player's fingers, as opposed to being strummed. The term "finger-picking" can refer to a specific tradition of folk, blues and country guitar playing in the United States; the acoustic bass guitar is a low-pitched instrument, one octave below a regular guitar. Electric guitars, introduced in the 1930s, use an amplifier and a loudspeaker that both makes the sound of the instrument loud enough for the performers and audience to hear, given that it produces an electric signal when played, that can electronically manipulate and shape the tone using an equalizer and a huge variety of electronic effects units, the most used ones being distortion and reverb. Early amplified guitars employed a hollow body, but solid wood guitars began to dominate during the 1960s and 1970s, as they are less prone to unwanted acoustic feedback "howls"; as with acoustic guitars, there are a number of types of electric guitars, including hollowbody guitars, archtop guitars and solid-body guitars, which are used in rock music.
The loud, amplified sound and sonic power of the electric guitar played through a guitar amp has played a key role in the development of blues and rock music, both as an accompaniment instrument and performing guitar solos, in many rock subgenres, notably heavy metal music and punk rock. The electric guitar has had a major influence on popular culture; the guitar is used in a wide variety of musical genres worldwide. It is recognized as a primary instrument in genres such as blues, country, folk, jota, metal, reggae, rock and many forms of pop. Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, a flat back, most with incurved sides." The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and in the Americas. A 3,300-year-old stone carving of a Hittite bard playing a stringed instrument is the oldest iconographic representation of a chordophone and clay plaques from Babylonia show people playing an instrument that has a strong resemblance to the guitar, indicating a possible Babylonian origin for the guitar.
The modern word guitar, its antecedents, has been applied to a wide variety of chordophones since classical times and as such causes confusion. The English word guitar, the German Gitarre, the French guitare were all adopted from the Spanish guitarra, which comes from the Andalusian Arabic قيثارة and the Latin cithara, which in turn came from the Ancient Greek κιθάρα. Which comes from the Persian word "sihtar"; this pattern of naming is visible in setar and sitar. The word "tar" at the end of all of these words is a Persian word that means "string". Many influences are cited as antecedents to the modern guitar. Although the development of the earliest "guitars" is lost in the history of medieval Spain, two instruments are cited as their most influential predecessors, the European lute and its cousin, the four-string oud. At least two instruments called "guitars" were in use in Spain by 1200: the guitarra latina and the so-called guitarra morisca; the guitarra morisca had a rounded back, wide fingerboard, several sound holes.
The guitarra Latina had a narrower neck. By the 14th century the qualifiers "moresca" or "morisca" and "latina" had been dropped, these two cordophones were referred to as guitars; the Spanish vihuela, called in Italian the "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is considered to have been the single most important influence in the development of the baroque guitar. It had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a cut waist, it was larger than the contemporary four-course guitars. By the 16th century, the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, more like a larger version of the contemporary four-course guita
I Knew I Loved You
"I Knew I Loved You" is a song by Australian pop duo Savage Garden, released as the second single from their second studio album, Affirmation. The song went straight to number one on the Billboard Hot 100, becoming the band's second number one in the United States after "Truly Madly Deeply", it was the last song by an Australian artist to reach the top of the Billboard Hot 100 for over twelve years, until Gotye peaked at number one with his single "Somebody That I Used to Know" in 2012. The song reached number one in Canada—the band's third single to do so—and number four in Australia. Elsewhere, the song reached number one in Romania, number three in New Zealand and Sweden, the top 10 in Norway and the United Kingdom; the music video features teen actress Kirsten Dunst as Darren Hayes' love interest and received a heavy rotation on MTV. "I Knew I Loved You"'s lyrics refer to the joy and sense of completion one feels after finding the right person to love. The irrational nature of such love is emphasised through the chorus.
In June 2015, a series of videos was posted on the duo's Facebook page to provide background on the songs included on The Singles compilation album. The story behind "I Knew I Loved You" was thus narrated by guitarist Daniel Jones: having finished recording material for Affirmation and Jones were challenged by Columbia Records executive Don Ienner to produce the next "Truly Madly Deeply"; the duo argued that "Truly Madly Deeply" was a one-of-its-kind song and could not replicated, but realised that their second album lacked a love ballad. Hayes and Jones went on to compose "I Knew I Loved You" and submitted it to the record label's executives, who were delighted with the result as they felt it was a strong contender to succeed "Truly Madly Deeply" as the band's US chart topper. Singer Darren Hayes further explained that the song was born out of a paradoxical situation, being a love song written "in about 40 minutes out of spite towards the record company" at a time when he felt "wounded by love".
The music video was filmed by director Kevin Bray in August 1999 on a New York City Subway set, used on the sitcom Seinfeld. It features Hayes playing out a romantic plot on a subway train, with a female passenger as the object of his affections. At one point, the train comes to a stop due to a power outage. Hayes, sitting opposite his aforementioned love interest, extends his hand to her; as they touch, the video cuts to a montage of the couple walking through a park, bathed in sunlight and holding hands. The video cuts back to the carriage as the power comes back on and the train pulls into the station. Hayes and the woman exit with the other passengers, share a fleeting glance before going their separate ways. Shots of the band performing alone on the subway platform and in the carriage are interspersed throughout the video; the video was uploaded on YouTube on 25 October 2009. As of March 2019, the video has received over 94 million views; the song was a huge success in the United States, on the Billboard Hot 100, where it spent four weeks at the top, an eventual 124 weeks on the Hot Adult Contemporary Tracks chart, breaking the record for 123 weeks set by another of the duo's songs, "Truly Madly Deeply".
It ranked number 21 on the All Time Adult Contemporary Chart. The song was certified Platinum by the RIAA and became the highest-played song on US radio of 2000. Country singer Daryle Singletary covered the song for his 2000 album and Again, his version reached #55 on the Billboard Hot Country Singles & Tracks chart in 2000. Cantopop singer Edison Chen covered the song for Break Through. List of Romanian Top 100 number ones of the 2000s List of number-one singles of 2000 List of Billboard Hot 100 number-one singles of 2000 List of number-one adult contemporary singles of 1999 and 2000 List of Billboard Mainstream Top 40 number-one songs of 2000 Lyrics of this song at MetroLyrics
I Want You (Savage Garden song)
"I Want You" is a song by Australian pop duo Savage Garden. It was released in Australia in May 1996 as the lead single from their eponymous debut album, Savage Garden; the single hit number one in Canada, peaked on number 4 on the US Billboard Hot 100 and in Australia. The single peaked at number 9 in Iceland and at 11 on the UK Singles Chart. In November 1998, the single was re released in the United Kingdom, following the success of "Truly Madly Deeply" and "To the Moon and Back"; this release peaked at number 12. The song is used as the ending theme of the anime adaptation of JoJo's Bizarre Adventure, during its Diamond Is Unbreakable arc. At the APRA Music Awards of 1998 it won Most Performed Australian Work Overseas; the song's lyrics refer to the irresistible attraction exerted by a woman possessing strong sex appeal. She fascinates the singer and arouses his curiosity though he is not sure whether he needs her at all. Singer Darren Hayes described it as a song about "a male energy" expressing its love, in contrast to some of his solo songs where he was more to adopt the perspective of a gay individual.
Two music videos were released for the song. The first video, released in 1996, showed the band performing in a room full of disco lights and Darren Hayes singing on the back of a moving vehicle; the second video, released in 1997, features the band in a stylised futuristic warehouse and recording studio. Both videos present Darren Hayes with long black hair; the international version was featured on the band's compilation Truly Madly Completely: The Best of Savage Garden, while the Australian version was not available until the release of the compilation The Singles. Lyrics of this song at MetroLyrics
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