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 Little South of Sanity
A Little South of Sanity is a live album by American hard rock band Aerosmith, released on October 20, 1998 as a combined effort of Geffen Records and Columbia Records. The two-disc album featured recordings taken while the band was on the Nine Lives Tour, which began in 1997 and was still ongoing at the time of the live album release, the Get a Grip Tour, which the band was on in 1993 and 1994; this album was the only Aerosmith album to receive the Parental Advisory sticker due to lead singer Steven Tyler shouting profanities in between songs and modifying some song lyrics to racier ones, although some other song lyrics had profanity in their original studio versions as well. The release of the album enabled Aerosmith to complete their contract with Geffen Records that helped lead to their newfound success in the 1980s and early 1990s. Shortly after the band reunited in 1984, they signed a contract to generate six albums for Geffen. Seven years they signed with Columbia Records after only having produced three albums for Geffen.
Aerosmith would add one studio album and a compilation album before their departure with a live album this one, still in the works. On the seal, the album title is misnamed as A Little South of Insanity. There are no listings to support where or when each performance was culled from - only the listing that all tracks are from either the Get A Grip or Nine Lives World Tours. However, the recordings of "Love In an Elevator", "Same Old Song and Dance", " Sweet Emotion" each have Tyler calling out to the live crowd. A bootleg called Yokohama Arena 3/12/98 has "Last Child" being recorded at the same time as the title revealed to where the song was performed Tyler says, "Motherfucker" out loud as if it were edited in this live album. Eat the Rich is recorded from Costa Rica in November, 1994. At the beginning of disc 2, before starting "Back in the Saddle", Tyler shouts, "I've got blisters on my sisters!", referencing a similar thing Ringo Starr shouted at the end of The Beatles song "Helter Skelter".
Steven Tyler – lead vocals, percussion Joe Perry – guitar, backing vocals, talkbox on "Sweet Emotion", pedal steel guitar on "Rag Doll", lead vocals on "Walk on Down" Brad Whitford – guitar Tom Hamilton – bass Joey Kramer – drumsAdditional musiciansRuss Irwin – keyboards, backing vocals Thom Gimbel – keyboards, backing vocals Engineer: Jay Messina Assistant engineers: Lawrence Manchester, John Wydrycs Mixing: Jack Douglas Mastering: Greg Calbi Monitor engineer: Mike Sprague Director: Jim Chapman Photography: Moshe Brakha Lighting design: Jim Chapman Clothing/wardrobe: Sherry Willshire A Little South of Sanity at MusicBrainz
Baby, Please Don't Go
"Baby, Please Don't Go" is a blues song, called "one of the most played and rearranged pieces in blues history" by French music historian Gérard Herzhaft. Delta blues musician Big Joe Williams popularized the song with several versions beginning in 1935. After World War II, Chicago blues and rhythm and blues artists adapted the song to newer music styles. In 1952, a doo-wop version by the Orioles reached the top ten on the race records chart. In 1953, Muddy Waters recorded the song as an electric Chicago-ensemble blues piece, which influenced many subsequent renditions. By the early 1950s, the song became a blues standard. In the 1960s, "Baby, Please Don't Go" became a popular rock song after the Northern Irish group Them recorded it in 1964. Several music writers have identified Jimmy Page, a studio guitarist at the time, as participating in the recording, although his exact contributions are unclear. Subsequently, Them's uptempo rock arrangement made it a rock standard. AC/DC and Aerosmith are among the rock groups.
"Baby, Please Don't Go" has been inducted into Roll Halls of Fame. "Baby, Please Don't Go" is an adaptation of "Long John", an old folk theme which dates back to the time of slavery in the United States. Blues researcher Paul Garon notes that the melody is based on "Alabamy Bound", composed by Tin Pan Alley writer Ray Henderson, with lyrics by Buddy DeSylva and Bud Green in 1925; the song, a vaudeville show tune, inspired several other songs between 1925 and 1935, such as "Elder Greene Blues", "Alabama Bound", "Don't You Leave Me Here". These variants were recorded by Charlie Patton, Lead Belly, Monette Moore, Henry Thomas, Tampa Red. Author Linda Dahl suggests a connection to a song with the same title by Mary Williams Johnson in the late 1920s and early 1930s. However, married to jazz-influenced blues guitarist Lonnie Johnson, never recorded it and her song is not discussed as influencing performers. Blues researcher Jim O'Neal notes that Williams "sometimes said that the song was written by his wife, singer Bessie Mae Smith ".
Big Joe Williams used the imprisonment theme for his October 31, 1935, recording of "Baby, Please Don't Go". He recorded it during his first session for Lester Bluebird Records in Chicago, it is an ensemble piece with Williams on vocal and guitar accompanied by Dad Tracy on one-string fiddle and Chasey "Kokomo" Collins on washboard, who are listed as "Joe Williams' Washboard Blues Singers" on the single. Musical notation for the song indicates a moderate-tempo fifteen-bar blues in 44 or common time in the key of B flat; as with many Delta blues songs of the era, it remains on the tonic chord throughout without the progression to the subdominant or dominant chords. The lyrics express a prisoner's anxiety about his lover leaving before he returns home: The song became a hit and established Williams' recording career. On December 12, 1941, he recorded a second version titled "Please Don't Go" in Chicago for Bluebird, with a more modern arrangement and lyrics. Blues historian Gerard Herzhaft calls it "the most exciting version", which Williams recorded using his trademark nine-string guitar.
Accompanying him are Sonny Boy Williamson I on harmonica and Alfred Elkins on imitation bass. Since both songs appeared before recording industry publications began tracking such releases, it is unknown which version was more popular. In 1947, he recorded it for Columbia Records with Williamson and Ransom Knowling on bass and Judge Riley on drums; this version did not reach the Billboard Race Records chart, but represents a move toward a more urban blues treatment of the song. Big Joe Williams' various recordings inspired other blues musicians to record their interpretations of the song and it became a blues standard. Early examples include Papa Charlie McCoy as "Tampa Kid", Leonard "Baby Doo" Caston, Lightnin' Hopkins, John Lee Hooker, Big Bill Broonzy. By the early 1950s, the song was reworked in contemporary musical styles, with an early rhythm and blues/jump blues version by Billy Wright, a harmonized doo-wop version by the Orioles, a Afro-Cuban-influenced rendition by Rose Mitchell. Mose Allison recorded the tune in his jazz-blues piano style for the album Transfiguration of Hiram Brown.
In 1953, Muddy Waters recast the song as a Chicago-blues ensemble piece with Little Walter and Jimmy Rogers. Chess Records issued the single with the title "Turn the Lamp Down Low", although the song is referred to as "Turn Your Lamp Down Low", "Turn Your Light Down Low", or "Baby Please Don't Go", he performed the song, several of which were recorded. Live versions appear on Muddy Waters at Newport 1960 and on Live at the Checkerboard Lounge, Chicago 1981 with members of the Rolling Stones. AllMusic critic Bill Janovitz cites the influence of Waters' adaptation: The most link between the Williams recordings and all the rock covers that came in the 1960s and 1970s would be the Muddy Waters 1953 Chess side, which retains the same swinging phrasing as the Williams takes, but the session musicians beef it up with a steady driving rhythm section, electrified instruments and Little Walter Jacobs wailing on blues harp. "Baby Please Don't Go" was one of the earliest songs recorded by Them, fronted by a 19-year-old Van Morrison.
Their rendition of the song was derived from a John Lee Hooker version recorded in 1949 as "Don't Go Baby" using the pseudonym "Texas Slim", which appeared on a 1959 album, Highway of Blues, that Van Morrison heard and felt was "something
Live! Bootleg is a double live album by American hard rock band Aerosmith, released in 1978. While most of the performances were drawn from concerts in 1977 and 1978, the covers "I Ain't Got You" and "Mother Popcorn" were taken from a radio broadcast of a Boston performance on March 20, 1973; the design of the album is intended to ape the poor production values offered by contemporary bootleg records going so far as to give an incorrect track listing: the song "Draw the Line" is included on the record but does not appear listed. The album features a secret live instrumental cover of "Strangers in the Night" inserted into their cover of "Train Kept A-Rollin'", a nod to a similar quote by Jimi Hendrix during "Wild Thing" at the Monterey Pop Festival; the back of the CD cover includes two coffee stains over the picture of Joe Perry playing before a live audience. The original LP cover had the coffee stains, but not the picture of Perry, part of the gatefold artwork; the record features one of Aerosmith's first live versions of The Beatles "Come Together", which they performed in the 1978 movie Sgt.
Pepper's Lonely Hearts Club Band, the first record appearance of Richie Supa's "Chip Away the Stone". In the band memoir Walk this Way, Perry recalls, "I didn't want to do a live album at the time because there were so many perfect live albums coming out, all doctored and fixed and overdubbed. Big deal. Double live album -'standard of the industry'. I felt like we had to avoid that and do a real live album like Live at Leeds or Get Yer Ya Ya's Out or that old Kinks album." In his own 2014 memoir Rocks, Perry confessed that the idea behind the LP confounded their label Columbia: We were working on Live! Bootleg!, an album of old shows that we intentionally wanted to sound bootlegged. A couple of those tracks were recorded off air onto a cassette, it had hiss all over it. We left on the hiss, but I'm not sure Columbia understood our concept. They wanted a clean sound. That's the thrill of a real bootleg; this album was featured on the episode "Prank Day" of That'70s Show. "Draw the Line" is featured as a hidden track at the end of "Mother Popcorn" AerosmithSteven Tyler – lead vocals, harmonica Joe Perry – guitar Brad Whitford – guitar Tom Hamilton – bass Joey Kramer – drums, percussionAdditional musiciansMark Radice – keyboards, backing vocals David Woodford – saxophone on "Mother Popcorn"ProductionJack Douglas – producer, engineer David Krebs, Steve Leber – executive producers, management Jay Messina, Lee DeCarlo – engineers Julie Last, Rod O'Brien, Sam Ginsburg – assistant engineers David Hewitt – Record Plant Mobile operator Chris Stone – Record Plant Mobile operator George Marino – mastering at Sterling Sound, New York John Kosh – art direction, design Jimmy Ienner, Jr. Barry Levine, Ron Pownall, Aaron Rapoport, Steve Smith – photography Davis, Stephen.
Walk This Way: The Autobiography of Aerosmith. New York City: Avon Books. ISBN 978-0-380-97594-5. Perry, Joe. Rocks: My Life In and Out of Aerosmith. New York City: Simon & Schuster. ISBN 978-1-476-71454-7. Live Bootleg at MusicBrainz
Pump is the tenth studio album by American rock band Aerosmith, released on September 12, 1989. The album was remastered and reissued in 2001. Pump incorporates the use of keyboards and a horn section on many of the singles, contains straightforward rockers, the ballad "What It Takes", songs about issues such as incest and murder and drug and alcohol abuse, as well as a variety of instrumental interludes such as "Hoodoo" and "Dulcimer Stomp." The album has certified sales of seven million copies in the U. S. to date, is tied with its successor Get a Grip as Aerosmith's second best-selling studio album in the U. S.. It produced a variety of "firsts" for the band including their first Grammy Award. "Love in an Elevator" became the first Aerosmith song to hit #1 on the Mainstream Rock Tracks chart. Additionally, it is the only Aerosmith album to date to have three Top 10 singles on the Billboard Hot 100 and three #1 singles on the Mainstream Rock Tracks chart; the album was the fourth bestselling album of the year 1990.
In the UK, it was the second Aerosmith album to be certified Silver by the British Phonographic Industry, achieving this in September 1989. Pump was the second of three sequentially recorded Aerosmith albums to feature producer Bruce Fairbairn and engineers Mike Fraser and Ken Lomas at The Little Mountain Sound Studios. A video documentary on the recording, The Making of Pump, was released in 1994. In December 1988, Aerosmith got together at Rik Tinory Productions in Cohasset, Massachusetts to rehearse and compose new songs, as the band members thought the isolated nature of the studio would help their creativity. Over 19 songs were written, split between an "A-list" with songs considered possible hits, such as "Love in an Elevator" and "What It Takes", the "B list" having songs yet to be developed such as "Voodoo Medicine Man". Producer Bruce Fairbairn focused on getting as many hooks on the songs as possible; some songs proposed for the album, though never released, include "Girl's Got Somethin'", "Is Anybody Out There", "Guilty Kilt", "Rubber Bandit", "Sniffin'", "Sedona Sunrise".
Many songs had alternate titles, for example, "Voodoo Medicine Man" was titled "Buried Alive" and "News For Ya Baby". The majority of these songs can be seen in photos of the studio's whiteboard and in footage from "The Making Of Pump". In January 1989, the band went to Vancouver to again record at Fairbairn's Little Mountain Sound, where the producer had helmed Bon Jovi's Slippery When Wet and New Jersey. "I don't listen to Bon Jovi," Steven Tyler protested, "so we didn't say,'Oh, they had a great album,' and go up there."The intention with the album was exploring a rawness, glossed over for a commercial sound in Permanent Vacation. Joe Perry declared that "When we went to do this album, we knew what we wanted, we wanted to strip off a little fat we felt on our last one. We didn't say'We need a drug song or a child abuse song,' but when they fit, we used them. That's Aerosmith: we aren't bound by any rules." This escape from the rules lead to the instrumental interludes between the songs. The interludes were done with the collaboration of musician Randy Raine-Reusch, brought to the studio after Perry and Tyler visited his house to search for unusual instruments to employ.
Many of the lyrics employ sexual themes, which Tyler attributed to having "making up for the lost time" he spent using drugs instead of having sex in the 1970s. On a 1989 MTV special entitled "Aerosmith Sunday," Brad Whitford explained the album title with "Now that we're off drugs, we're all pumped up."Steven Tyler regretted not putting lyrics in the album booklet, something that happened because Geffen was afraid the Parents Music Resource Center would protest over lyrical content with many sex and drugs references. To remedy this omission, the lyrics were included in the tour programme; the album cover features a black and white photo of a smaller International K Series truck on top of a larger International KB Series truck, with the letters F. I. N. E in place of the chrome International markings on the side of both hoods. Aerosmith found themselves in law school textbooks after a small rock band named Pump sued Aerosmith's management company for service mark infringement. Aerosmith won the case.
Aerosmith found themselves in legal trouble when the songwriting team Holland–Dozier–Holland threatened to sue the band over the main melody in Aerosmith's song "The Other Side" which sounded similar to the melody in the song "Standing in the Shadows of Love". As part of the settlement, Aerosmith agreed to add "Holland–Dozier–Holland" in the songwriting credits for "The Other Side". AerosmithSteven Tyler – lead vocals, keyboards, harmonica Joe Perry – guitar:second solo on "Love in an Elevator", slide guitar on "Monkey on My Back", backing vocals Brad Whitford – guitar: lead guitar on "Hoodoo/Voodoo Medicine Man" and first solo on "Love in an Elevator" Tom Hamilton – bass, backing vocals on "Love in an Elevator" Joey Kramer – drumsAdditional personnelBob Dowd – backing vocals on "Love in an Elevator" Catherine Epps – spoken intro on "Love in an Elevator" Bruce Fairbairn – trumpet, backing vocals on "Love in an Elevator" The Margarita Horns – brass instruments, saxophones John Webster – keyboards Randy Raine-Reusch - Musical interludes (Appalachian dulcimer on "Dulcimer Stomp," didgeridoo on "Don't Get Mad, Get Even," Thai naw on "Hoodoo," and glass harmo
Permanent Vacation (album)
Permanent Vacation is the ninth studio album by American rock band Aerosmith, released on August 21, 1987 by Geffen Records. The album marked a turning point in the band's career, it was their first to employ songwriters outside the band, instead of featuring songs composed by them. This came at the suggestion of executive John Kalodner, he pushed the band to work with producer Bruce Fairbairn, who remained with them for another two albums. It was the first Aerosmith album to be promoted by heavy music video airplay on MTV. Though Done with Mirrors was intended to mark Aerosmith's comeback, Permanent Vacation is considered their true comeback, as it was the band's first popular album since their reunion. "Rag Doll", "Dude", "Angel" became major hits and helped Permanent Vacation become the band's greatest success in a decade. The album features a cover of The Beatles' "I'm Down", which appeared as a B-side to their single "Help!" in 1965. This was Aerosmith's second commercially released Beatles cover, after "Come Together".
Permanent Vacation has sold over five million copies in the U. S. In the UK, it was the first Aerosmith album to attain both Silver and Gold certification by the British Phonographic Industry, achieving these in July 1989 and March 1990 respectively; the album's title – a phrase from The Angels' "My Boyfriend's Back" – was referenced in Aerosmith's 1993 hit "Amazing" from the album Get a Grip. Adapted from the liner notes. & Allmusic Track numbers refer to CD and digital releases of the album. Aerosmith Steven Tyler – lead vocals, harmonica, plunger mute Joe Perry – guitar: lead guitar and rhythm guitar on track 1, backing vocals, pedal steel guitar on "Rag Doll" Brad Whitford – guitar: lead and rhythm guitar on track 1, lead guitar on tracks 8, 10 & 12 Tom Hamilton – bass guitar Joey Kramer – drums Permanent Vacation 3x5 Permanent Vacation Tour Permanent Vacation at MusicBrainz