Go Fly a Kite
Go Fly a Kite is the fifth studio album by Ben Kweller, released on February 7, 2012. This is his first album since splitting with former label ATO Records. In a review for VZ Magazine, Nicholas Moffitt said, "Fans of Kweller and Power Pop will like Go Fly A Kite" but added, "I just wish Kweller were more daring." The AllMusic review called it "a refreshing album on a number of levels" because of Kweller's inclusion of "the detailed notes on how to play each song along with the lyrics...keeping nothing, not the chord progressions, secret."
Freak Out, It's Ben Kweller
Freak Out, It's Ben Kweller is Ben Kweller's self-released demo. Ben recorded the tracks on his computer in his apartment in Brooklyn. "BK Baby" – 1:50 "Walk on Me" – 3:55 "How It Should Be" – 1:41 "Make It Up" – 4:06 "In Other Words" – 5:32 "I Don't Know Why" – 3:06 "Lizzy" – 4:04 "Problems" – 3:30
Changing Horses (Ben Kweller album)
Changing Horses is the fourth studio album by Ben Kweller, expected for release in September 2008 but was released on February 2, 2009 in Europe and February 3 2009 in the United States. Kweller has described the new album as being more Country in style than his previous releases; the album features Chris Morrissey and Mark Stepro. It debuts the talents of Kitt Kitterman, Kweller's manager, who plays pedal steel guitar and Dobro. On November 23, 2008, the full album leaked onto the Internet. In a statement, ATO Records said; the song "Hurtin' You" was debuted on Stereogum. The whole album was made available to stream on Last.fm. "Gypsy Rose" – 4:56 "Old Hat" – 4:12 "Fight" – 2:54 "Hurtin' You" – 2:47 "Ballad of Wendy Baker" – 3:58 "Sawdust Man" – 4:12 "Wantin' Her Again" – 2:42 "Things I Like to Do" – 2:09 "On Her Own" – 4:01 "Homeward Bound" – 3:50 Ben Kweller - Lead Vocal, Guitar, & Piano Kitt Kitterman - Pedal Steel & Dobro Mark Stepro - Drums & Backing Vocal Chris Morrissey - Bass & Backing Vocal "Fight" piano by Riley Osbourn "On Her Own" electric guitar by Greg Combs "Hurtin' You" bass/backing vocals by Josh Lattanzi,drums by Ben Kweller, backing vocals by The Pierces "Ballad of Wendy Baker" strings by The Tosca String Quartet, arr. by Ben Kweller "Sawdust Man" claps by Steve Mazur, Rob Niederpruem, Ben Kweller.
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
Benjamin Lev "Ben" Kweller is an American singer and multi-instrumentalist. A former member of Radish, Kweller has released five solo albums and appeared on several collaborations. Ben Kweller was born in San Francisco in 1981. In 1982, his family relocated to Emory, where his father, Howard Kweller, became the town's first doctor. In 1986, the Kwellers moved to the larger Texas town of Greenville. Kweller was exposed to music at a early age. Howard taught Ben. For the next year, they would play together every night after Howard got home from work. Howard played guitar while Ben played the drums; the duo played songs by The Beatles, The Hollies, Jimi Hendrix, other artists of the 1960s. Howard is a longtime friend of Nils Lofgren, a neighbor of his. Kweller has mentioned in interviews that meeting Lofgren helped his exposure to music; when Kweller turned eight, someone showed him how to play "Heart and Soul" on the piano and the youngster began to create his own songs using the same chords. By the time he was nine, he had a dozen original compositions under his belt and entered a songwriting contest sponsored by Billboard magazine, where he won an honorable mention.
Kweller married his girlfriend, Liz Smith and they have two sons, named Dorian Zev Kweller, born in May 2006, Judah Evan Kweller, born April 3, 2010. At the time of Dorian's birth they lived in New York City, but they moved back to Kweller's home state of Texas and reside in Austin. Ben's middle name, means "Heart" in Hebrew and his son's middle name, means "Wolf". Ben has said in interviews, "Together we're Heart of the Wolf..." In 1993, Kweller became friends with a local musician, drummer John Kent, formed the band Radish with bassist Ryan Green. The trio played locally in and around Greenville and recorded two independent releases and Dizzy, with Martin Baird at Verge Music Works recording studio in Dallas, Texas. Around the time of the release of Dizzy, Green left Radish to focus his attention on school. Lorin Hamilton stood in for Green for a few months until Bryan Bradford known as Bryan Blur, joined on for most of the band's career. Kweller sent a copy of Dizzy to guitarist Nils Lofgren who grew up with Kweller's father in Maryland.
Lofgren was impressed with Radish and recommended them to Roger Greenawalt, producing Lofgren's album Damaged Goods at the time. Greenawalt took Radish to a studio to record a demo tape, subsequently sent to record labels nationwide. After an unexpected bidding war for Dizzy, Radish signed to Mercury Records to release the full-length Restraining Bolt. Radish made appearances on The Weird Al Show, Late Night with Conan O'Brien and Late Show with David Letterman, but despite a much-hyped signing, the band failed to strike success. Radish earned a cult following in the United Kingdom with its top-40 hit "Little Pink Stars"; the band went on multiple European tours, including opening slots for Faith No More and Main Stage at Reading Festival in 1997. Radish released two singles. In 1998, Radish became a quartet. Radish went to Muscle Shoals Studio in Alabama to record the follow-up to Restraining Bolt, provisionally titled Discount Fireworks; the band recorded with producer Bryce Goggin. While mastering Discount Fireworks in New York City and Kent met bassist Josh Lattanzi, who would become Radish's fifth and final bass player.
As a result of Polygram's merger with Universal Music Group, the 18-song album was never released and Radish secured a release from their contract with Mercury Records. At age 19, Kweller moved with his girlfriend, Liz Smith, to New York, where he began his solo career, he played acoustic shows and self-released four EPs, comprising some of the unreleased Radish Discount Fireworks recordings and other songs recorded in his apartment on a laptop computer. It was one of these EPs, Freak Out, It's Ben Kweller, that caught the attention of Evan Dando of The Lemonheads. Dando invited Kweller on tour with him. Jeff Tweedy, Juliana Hatfield and Guster noticed Kweller and took him on tour with them. In 2001, Ben Kweller became ATO Records' first worldwide signing and released a 5-track EP entitled EP Phone Home. In March 2002, Sha Sha, Kweller's first solo studio LP, was released. Sha Sha included the radio-friendly and popular single "Wasted & Ready", which reached #29 on the Modern Rock Tracks chart.
The album featured John Kent on drums and Josh Lattanzi on bass, showcased a wide variety of sound from quirky pop, to folk, to punk. The album grew in popularity with a grassroots effort based on his website and a promotion group called teamBK, which promoted via word-of-mouth advertising. To support the release of the album and EP, he put together a live band composed of Lattanzi on bass, Fred Eltringham on drums, Mike Stroud on guitar and keyboards. Towards the end of the Sha Sha album cycle, the four-piece performed on PBS's Austin City Limits. In 2003, Kweller toured Australia with Ben Lee as The Bens; the trio produced an eponymous four-song EP, with each member taking lead vocals on one song, a final song in which they all contributed vocals. In an interview on October 14, 2006, Ben hinted. Late in 2003, Kweller provided lead vocals on the song "I Hope Tomorrow is Like Today" from Guster's album Keep It Together. Kweller and Guster co-wrote the song after a late night jam at Guster's Brooklyn studio.
The song is prominently featured in the movie Wedding Crashers. On My Way, Kweller's second LP, took a new directio
An extended play record referred to as an EP, is a musical recording that contains more tracks than a single, but is unqualified as an album or LP. Contemporary EPs contain a minimum of three tracks and maximum of six tracks, are considered "less expensive and time-consuming" for an artist to produce than an album. An EP referred to specific types of vinyl records other than 78 rpm standard play and LP, but it is now applied to mid-length CDs and downloads as well. Ricardo Baca of The Denver Post said, "EPs—originally extended-play'single' releases that are shorter than traditional albums—have long been popular with punk and indie bands." In the United Kingdom, the Official Chart Company defines a boundary between EP and album classification at 25 minutes of maximum length and no more than four tracks. EPs were released in various sizes in different eras; the earliest multi-track records, issued around 1919 by Grey Gull Records, were vertically cut 78 rpm discs known as "2-in-1" records. These had finer than usual grooves, like Edison Disc Records.
By 1949, when the 45 rpm single and 331⁄3 rpm LP were competing formats, seven-inch 45 rpm singles had a maximum playing time of only about four minutes per side. As an attempt to compete with the LP introduced in 1948 by rival Columbia, RCA Victor introduced "Extended Play" 45s during 1952, their narrower grooves, achieved by lowering the cutting levels and sound compression optionally, enabled them to hold up to 7.5 minutes per side—but still be played by a standard 45 rpm phonograph. These were 10-inch LPs split onto two seven-inch EPs or 12-inch LPs split onto three seven-inch EPs, either sold separately or together in gatefold covers; this practice became much less common with the advent of triple-speed-available phonographs. Some classical music albums released at the beginning of the LP era were distributed as EP albums—notably, the seven operas that Arturo Toscanini conducted on radio between 1944 and 1954; these opera EPs broadcast on the NBC Radio network and manufactured by RCA, which owned the NBC network were made available both in 45 rpm and 331⁄3 rpm.
In the 1990s, they began appearing on compact discs. RCA had success in the format with their top money earner, Elvis Presley, issuing 28 Elvis EPs between 1956 and 1967, many of which topped the separate Billboard EP chart during its brief existence. During the 1950s, RCA published several EP albums of Walt Disney movies, containing both the story and the songs; these featured the original casts of actors and actresses. Each album contained two seven-inch records, plus a illustrated booklet containing the text of the recording so that children could follow along by reading; some of the titles included Snow White and the Seven Dwarfs and what was a recent release, the movie version of 20,000 Leagues Under the Sea, presented in 1954. The recording and publishing of 20,000 was unusual: it did not employ the movie's cast, years a 12 in 33⅓ rpm album, with a nearly identical script, but another different cast, was sold by Disneyland Records in conjunction with the re-release of the movie in 1963.
Because of the popularity of 7" and other formats, SP records became less popular and the production of SPs in Japan was suspended in 1963. In the 1950s and 1960s, EPs were compilations of singles or album samplers and were played at 45 rpm on seven-inch discs, with two songs on each side. Other than those published by RCA, EPs were uncommon in the United States and Canada, but they were sold in the United Kingdom, in some other European countries, during the 1950s and 1960s. Record Retailer printed the first EP chart in 1960; the New Musical Express, Melody Maker and Music Echo and the Record Mirror continued to list EPs on their respective singles charts. The Beatles' Twist and Shout outsold most singles for some weeks in 1963; when the BBC and Record Retailer commissioned the British Market Research Bureau to compile a chart it was restricted to singles and EPs disappeared from the listings. In the Philippines, seven-inch EPs marketed as "mini-LPs" were introduced in 1970, with tracks selected from an album and packaging resembling the album they were taken from.
This mini-LP format became popular in America in the early 1970s for promotional releases, for use in jukeboxes. Stevie Wonder included a bonus four-song EP with his double LP Songs in the Key of Life in 1976. During the 1970s and 1980s, there was less standardization and EPs were made on seven-inch, 10-inch or 12-inch discs running either 331⁄3 or 45 rpm; some novelty EPs used odd shapes and colors, a few of them were picture discs. Alice in Chains was the first band to have an EP reach number one on the Billboard album chart, its EP, Jar of Flies, was released on January 25, 1994. In 2004, Linkin Park and Jay-Z's collaboration EP, Collision Course, was the next to reach the number one spot after Alice in Chains. In 2010, the cast of the television series Glee became the first artist to have two EPs reach number one, with Glee: The Music, The Power of Madonna on the week of May 8, 2010, Glee: The Music, Journey to Regionals on the week of June 26, 2010. In 2010, Warner Bros. Records revived the format with their "Six-Pak" offering of six songs on a compact disc.
The first EPs were seven-inch vinyl records with more tracks than a normal single. Although they shared size and speed with singles, they were a recognizably different format than the seven-inch single. Alth
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