"April Skies" is a song by the Scottish alternative rock group The Jesus and Mary Chain and the first single from the group's album Darklands. It was released by Blanco y Negro Records in April 1987; the single reached #8 in the UK single charts, making it their highest charting single within the UK. All tracks written except where noted. 7""April Skies" – 3:14 "Kill Surf City" – 3:09 2x7" Gatefold Sleeve"April Skies" – 3:14 "Kill Surf City" – 3:09 "Mushroom" - 3:16 "Bo Diddley Is Jesus" - 3:1612""April Skies" – 4:00 "Kill Surf City" – 3:09 "Who Do You Love?" - 4:03 Jim Reid – vocals, guitar William Reid – guitar, producer Bill Price - producer John Loder – producer Linda Reid - design Helen Backhouse - design Lyrics of this song at MetroLyrics
James McLeish Reid is the lead singer for the alternative rock band The Jesus and Mary Chain, which he formed with his elder brother and guitarist William Reid. Reid is the lead founding member of the alternative rock band The Jesus and Mary Chain, they released six studio albums before they split up in 1999. They reformed in March 2007. Reid went on to form the band Freeheat with former Mary Chain drummer Nick Sanderson and guitarist Ben Lurie. Freeheat did several tours and released an EP, before the members went their separate ways in 2003. Reid released his first solo single "Song for a Secret" in 2005 on the Transistor record label, released a follow up called "Dead End Kids" in July 2006 on Transistor. Since April 2006 he has been playing with a new band that features Phil King on lead guitar, Loz Colbert on drums and Mark Crozer on bass; the band has performed his new material at several low key gigs including Whelans in Dublin and, more the Carling Bar Academy in Islington. Reid was born in East Kilbride and attended Hunter High School.
He now lives in Devon, has two daughters Simone and Candice. "Song for a Secret" – single "Dead End Kids" – single
William Reid (musician)
William Adam Reid is a Scottish guitarist and singer, best known as being lead guitarist and co-founder of the Scottish alternative rock band, The Jesus and Mary Chain. Born and raised in East Kilbride, along with his brother Jim, the lead singer, formed the core of the band; the early sound of The Jesus and Mary Chain was defined by Reid's distorted and feedback laden hollowbody guitar work using the Shin-ei Companion WF-8 fuzz-wah box to get his unique sound, which verged on white noise. Reid ended the band in late 1998, when he walked off stage fifteen minutes into a show at the House of Blues; the Jesus and Mary Chain reformed in early 2007 to play concert dates in Europe and the US. After The Jesus and Mary Chain split up in 1999, Reid began performing solo under the name Lazycame. Reid has been involved in the production of the Sister Vanilla album, Little Pop Rock, featuring the Reid brothers' younger sister, Linda Reid. Reid was born to a working class family in East Kilbride and attended Hunter High School.
Residing in the United States, he has three children. Tired Of Fucking Taster Finbegin Yawn! Saturday The Fourteenth
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
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
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
Paste is a monthly music and entertainment digital magazine, headquartered in Decatur, with studios in Manhattan and Davenport and owned by Wolfgang's Vault. The magazine began as a website in 1998, it ran as a print publication from 2002 to 2010 before converting to online-only. The magazine. Was founded as a quarterly in July 2002, was owned, by Josh Jackson, Nick Purdy, Tim Regan-Porter, it switched to a bimonthly format. In 2005, Paste fulfilled remaining subscriptions for the competing magazine Tracks, which had ceased publishing its print edition. Paste became a monthly with its August 2006 issue. For two years in the mid-2000s, Paste had a weekly segment on CNN Headline News called "Paste Picks", wherein editors would recommend new albums and films every Tuesday. In October 2007, the magazine tried the "Radiohead" experiment, offering new and current subscribers the ability to pay what they wanted for a one-year subscription to Paste; the subscriber base increased by 28,000, but Paste president Tim Regan-Porter noted the model was not sustainable.
Amidst an economic downturn, Paste began to suffer from lagging ad revenue, as did other magazine publishers in 2008 and 2009. On May 14, 2009, Paste editors announced a plan to save the magazine, by pleading to its readers and celebrities for contributions. Cost-cutting by the magazine did not stem the losses; the main crux cited. In 2009, Paste launched. On August 31, 2010, Paste suspended the print magazine, but continues publication as the online PasteMagazine.com. From 2011-2016, Paste offered a digital subscription service, covering music, movies, TV, books, video games, tech and drink; each issue included a digital version of the Paste Sampler with seven new songs each week. In 2017, Paste launched a large-format print magazine with an accompanying vinyl sampler. Planned as a quarterly, it now plans to release it annually. However, the 2018 issue was not delivered to subscribers, its tagline is "Signs of Life in Music and Culture". Paste's initial focus was music, covering a variety of genres with an emphasis on adult album alternative and indie rock, along with independent film and books.
Each issue included a CD music sampler but was dropped in favor of digital downloading as a Going-Green initiative. Featured artists included Paul McCartney, Ryan Adams, Regina Spektor, The Whigs, Fiona Apple, The Decemberists, Mark Heard, Woven Hand and the Devils Party, Liam Finn, The Trolleyvox, Thom Yorke. Many of these artists contributed to the Campaign to Save Paste. Paste added videogames coverage in 2006, has since expanded to include television, comic books, drinks and, most politics. Paste has been recording live performances since 2006, first in its office in Decatur, Ga. and in its Manhattan studio location beginning in 2012. Artists who've performed in the Paste studio include Steve Martin, Waka Flocka Flame, Violent Femmes, Minus the Bear, Flogging Molly, The Civil Wars, Chris Thile, Dashboard Confessional, The Zombies, Laura Marling, Puddles Pity Party, Arrested Development and Grace VanderWaal. Paste has filmed exclusive performances at events across the country, including The Lumineers, Billy Bragg, Courtney Barnett, Lord Huron at SXSW.
In 2015, Paste added several collections of archival live audio and video to PasteMagazine.com and now boasts more than 100,000 performances available to stream for free on its site or the Paste Music & Daytrotter app, launched in late 2017. Available content includes performances from Prince, U2, The Rolling Stones, Aretha Franklin, The Zephyr Bones, Wilco and thousands more, along with everything recorded in the Paste Studio. In 2005, Paste was listed at #21 on the Chicago Tribune's list of "50 Best Magazines". Paste was named "Magazine of the Year" by the PLUG Independent Music Awards in 2006, 2007 and 2008. In 2008, 2009 and 2010, Paste was nominated for a National Magazine Award in the category of General Excellence, in 2010, associate editor Rachael Maddux' writings were nominated for Best Reviews. Official website