"Everything's Ruined" is a song from Faith No More's fourth studio album Angel Dust and the final single to be released from the album's original track listing. The single was first released on November 9, 1992; the information regarding accolades acquired from AcclaimedMusic.net The music video, directed by Kevin Kerslake, features the band, blue screened over stock footage ranging from wildlife shots, baseball games and a wide selection of other clips. The band at times interacts like fleeing from a seemingly-giant tortoise. Billy Gould addressed the intentional cheapness of the video in a 20th anniversary Q&A on the Faith No More Blog: The Videos for "Midlife Crisis" and "A Small Victory" seem to have both have high concepts and big budgets while the video for "Everything's Ruined" does not. Why was it that the video for "Everything's Ruined" was so goofy and easy to produce? The easy answer is, Warner's spent the video budget on "Small V" and "Midlife" so that when it came time to "Everything's Ruined" there's wasn't much left.
It was our idea to take this further and make a video as cheap as humanly possible, in one of those video booths like they had at county fairs, where you sing and dance in front of a blue screen. We didn't quite get to do that. UK Part 1 "Everything's Ruined" "Edge of the World" "RV" UK Part 2 "Everything's Ruined" "Midlife Crisis" "Land of Sunshine" European "Everything's Ruined" "Easy" "RV"
UK Singles Chart
The UK Singles Chart is compiled by the Official Charts Company, on behalf of the British record industry, listing the top-selling singles in the United Kingdom, based upon physical sales, paid-for downloads and streaming. The Official Chart, broadcast on BBC Radio 1 and MTV, is the UK music industry's recognised official measure of singles and albums popularity because it is the most comprehensive research panel of its kind, today surveying over 15,000 retailers and digital services daily, capturing 99.9% of all singles consumed in Britain across the week, over 98% of albums. To be eligible for the chart, a single is defined by the Official Charts Company as either a'single bundle' having no more than four tracks and not lasting longer than 25 minutes or one digital audio track not longer than 15 minutes with a minimum sale price of 40 pence; the rules have changed many times as technology has developed, the most notable being the inclusion of digital downloads in 2005 and streaming in July 2014.
The OCC website contains the Top 100 chart. Some media outlets only list the Top 75 of this list; the chart week runs from 00:01 Friday to midnight Thursday, with most UK physical and digital singles being released on Fridays. From 3 August 1969 until 5 July 2015, the chart week ran from 00:01 Sunday to midnight Saturday; the Top 40 chart is first issued on Friday afternoons by BBC Radio 1 as The Official Chart from 16:00 to 17:45, before the full Official Singles Chart Top 100 is posted on the Official Charts Company's website. A rival chart show, The Vodafone Big Top 40, is based on iTunes downloads and commercial radio airplay across the Global Radio network only, is broadcast on Sunday afternoons from 16:00 to 19:00 on 145 local commercial radio stations across the United Kingdom; the Big Top 40 is not regarded by the industry or wider media. There is a show called "Official KISS Top 40", counting down 40 most played songs on Kiss FM every Sunday 17:00 to 19:00; the UK Singles Chart began to be compiled in 1952.
According to the Official Charts Company's statistics, as of 1 July 2012, 1,200 singles have topped the UK Singles Chart. The precise number of chart-toppers is debatable due to the profusion of competing charts from the 1950s to the 1980s, but the usual list used is that endorsed by the Guinness Book of British Hit Singles and subsequently adopted by the Official Charts Company; the company regards a selected period of the New Musical Express chart and the Record Retailer chart from 1960 to 1969 as predecessors for the period prior to 11 February 1969, where multiples of competing charts coexisted side by side. For example, the BBC compiled its own chart based on an average of the music papers of the time; the first number one on the UK Singles Chart was "Here in My Heart" by Al Martino for the week ending date 14 November 1952. As of the week ending date 18 April 2019, the UK Singles Chart has had 1352 different number-one hits; the current number-one single is "Someone You Loved" by Lewis Capaldi.
Before the compilation of sales of records, the music market measured a song's popularity by sales of sheet music. The idea of compiling a chart based on sales originated in the United States, where the music-trade paper Billboard compiled the first chart incorporating sales figures on 20 July 1940. Record charts in the UK began in 1952, when Percy Dickins of the New Musical Express gathered a pool of 52 stores willing to report sales figures. For the first British chart Dickins telephoned 20 shops, asking for a list of the 10 best-selling songs; these results were aggregated into a Top 12 chart published in NME on 14 November 1952, with Al Martino's "Here in My Heart" awarded the number-one position. The chart became a successful feature of the periodical. Record Mirror compiled its own Top 10 chart for 22 January 1955; the NME chart was based on a telephone poll. Both charts expanded in size, with Mirror's becoming a Top 20 in October 1955 and NME's becoming a Top 30 in April 1956. Another rival publication, Melody Maker, began compiling its own chart.
It was the first chart to include Northern Ireland in its sample. Record Mirror began running a Top 5 album chart in July 1956. In March 1960, Record Retailer had a Top 50 singles chart. Although NME had the largest circulation of charts in the 1960s and was followed, in March 1962 Record Mirror stopped compiling its own chart and published Record Retailer's instead. Retailer began independent auditing in January 1963, has been used by the UK Singles Chart as the source for number-ones since the week ending 12 March 1960; the choice of Record Retailer as the source has been criticised. With available lists of which record shops were sampled to compile the charts some shops were subjected to "hyping" but, with Record Retailer being less followed than some charts, it was subject to less hyping. Additionally, Retailer was set up by independent record shops and had no funding or affiliation with record companies. However, it had a smaller sample size than some ri
Another Body Murdered
"Another Body Murdered" is a song created as a collaboration between Faith No More and Boo-Yaa T. R. I. B. E. for the soundtrack to the 1993 film Judgment Night. It was released as a single on October 25, 1993, it was the first recording by Faith No More to not include guitarist Jim Martin, despite still being a member of the band at the time. Bassist Billy Gould performed guitar on the song instead; the music video was directed by Marcus Raboy. Despite charting in a few countries and being released as a single, this song has never been re-released on any Faith No More compilation albums. Professional wrestler Samoa Joe has used the song as an entrance theme in the past. First version"Another Body Murdered" – 4:09 "Another Body Murdered" – 3:55 "Another Body Murdered" – 4:22Second version"Another Body Murdered" – 3:55 "Another Body Murdered" – 4:09 "Just Another Victim" – 4:35 — Helmet and House of Pain "Just Another Victim" – 4:35 — Helmet and House of PainThird version"Another Body Murdered" – 4:09 "Another Body Murdered" – 4:22 "Just Another Victim" – 4:35 — Helmet and House of Pain "Just Another Victim" – 4:35 — Helmet and House of Pain From Boo-Yaa T.
R. I. B. E. E. K. A. – vocals Gawtti – vocals The Godfather – vocals Kobra Konvict – vocals Monsta O – vocals Murder One – vocals Ganxsta Ridd – vocalsFrom Faith No MoreMike Patton – vocals, screams Billy Gould – guitar, bass Roddy Bottum – keyboards, piano Mike Bordin – drumsTechnical staffSteve Ett – mixing on the "Radio edit" version Ghetto Guerillas, Fletcher – mixing on the "Remix" version Judgment Night track listing Chirazi, Steffan. The Real Story. Castle CommunicationsPLC. ISBN 1-898141-15-0
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
Soul music is a popular music genre that originated in the African American community in the United States in the 1950s and early 1960s. It combines elements of African-American gospel music and blues and jazz. Soul music became popular for dancing and listening in the United States, where record labels such as Motown and Stax were influential during the Civil Rights Movement. Soul became popular around the world, directly influencing rock music and the music of Africa. According to the Rock and Roll Hall of Fame, soul is "music that arose out of the black experience in America through the transmutation of gospel and rhythm & blues into a form of funky, secular testifying". Catchy rhythms, stressed by handclaps and extemporaneous body moves, are an important feature of soul music. Other characteristics are a call and response between the lead vocalist and the chorus and an tense vocal sound; the style occasionally uses improvisational additions and auxiliary sounds. Soul music reflected the African-American identity and it stressed the importance of an African-American culture.
The new-found African-American consciousness led to new styles of music, which boasted pride in being black. Soul music dominated the U. S. R&B chart in the 1960s, many recordings crossed over into the pop charts in the U. S. Britain and elsewhere. By 1968, the soul music genre had begun to splinter; some soul artists developed funk music, while other singers and groups developed slicker, more sophisticated, in some cases more politically conscious varieties. By the early 1970s, soul music had been influenced by psychedelic rock and other genres, leading to psychedelic soul; the United States saw the development of neo soul around 1994. There are several other subgenres and offshoots of soul music; the key subgenres of soul include a rhythmic music influenced by gospel. Soul music has its roots in traditional African-American gospel music and rhythm and blues and as the hybridization of their respective religious and secular styles – in both lyrical content and instrumentation – that began in the 1950s.
The term "soul" had been used among African-American musicians to emphasize the feeling of being an African-American in the United States. According to musicologist Barry Hansen,Though this hybrid produced a clutch of hits in the R&B market in the early 1950s, only the most adventurous white fans felt its impact at the time. According to AllMusic, "oul music was the result of the urbanization and commercialization of rhythm and blues in the'60s." The phrase "soul music" itself, referring to gospel-style music with secular lyrics, was first attested in 1961. The term "soul" in African-American parlance has connotations of African-American culture. Gospel groups in the 1940s and'50s used the term as part of their names; the jazz style that originated from gospel became known as soul jazz. As singers and arrangers began using techniques from both gospel and soul jazz in African-American popular music during the 1960s, soul music functioned as an umbrella term for the African-American popular music at the time.
Important innovators whose recordings in the 1950s contributed to the emergence of soul music included Clyde McPhatter, Hank Ballard, Etta James. Ray Charles is cited as popularizing the soul music genre with his series of hits, starting with 1954's "I Got a Woman". Singer Bobby Womack said, "Ray was the genius, he turned the world onto soul music." Charles was open in acknowledging the influence of Pilgrim Travelers vocalist Jesse Whitaker on his singing style. Little Richard, who inspired Otis Redding, James Brown both were influential. Brown was nicknamed the "Godfather of Soul Music", Richard proclaimed himself as the "King of Rockin' and Rollin', Rhythm and Blues Soulin'", because his music embodied elements of all three, since he inspired artists in all three genres. Sam Cooke and Jackie Wilson are acknowledged as soul forefathers. Cooke became popular as the lead singer of the gospel group The Soul Stirrers, before controversially moving into secular music, his recording of "You Send Me" in 1957 launched a successful pop music career.
Furthermore, his 1962 recording of "Bring It On Home To Me" has been described as "perhaps the first record to define the soul experience". Jackie Wilson, a contemporary of both Cooke and James Brown achieved crossover success with his 1957 hit "Reet Petite", he was influential for his dramatic delivery and performances. Writer Peter Guralnick is among those to identify Solomon Burke as a key figure in the emergence of soul music, Atlantic Records as the key record label. Burke's early 1960s songs, including "Cry to Me", "Just Out of Reach" and "Down in the Valley" are considered classics of the genre. Guralnick wrote: "Soul started, in a sense, with the 1961 success of Solomon Burke's "Just Out Of Reach". Ray Charles, of course, had enjoyed enormous success, as had James Brown and Sam Cooke — in a pop vein. E
Willie Hugh Nelson is an American singer, musician, producer, author and activist. The critical success of the album Shotgun Willie, combined with the critical and commercial success of Red Headed Stranger and Stardust, made Nelson one of the most recognized artists in country music, he was one of the main figures of outlaw country, a subgenre of country music that developed in the late 1960s as a reaction to the conservative restrictions of the Nashville sound. Nelson has acted in over 30 films, co-authored several books, has been involved in activism for the use of biofuels and the legalization of marijuana. Born during the Great Depression and raised by his grandparents, Nelson wrote his first song at age seven and joined his first band at ten. During high school, he toured locally with the Bohemian Polka as their lead singer and guitar player. After graduating from high school in 1950, he joined the air force but was discharged due to back problems. After his return, Nelson attended Baylor University for two years but dropped out because he was succeeding in music.
During this time, he worked as a singer in honky-tonks. Nelson moved to Vancouver, where he wrote "Family Bible" and recorded the song "Lumberjack" in 1956, he worked as a disc jockey at various radio stations in Vancouver and nearby Portland Oregon. In 1958, he moved to Houston, after signing a contract with D Records, he sang at the Esquire Ballroom weekly and he worked as a disk jockey. During that time, he wrote songs that would become country standards, including "Funny How Time Slips Away", "Hello Walls", "Pretty Paper", "Crazy". In 1960 he moved to Nashville and signed a publishing contract with Pamper Music which allowed him to join Ray Price's band as a bassist. In 1962, he recorded his first album... And Then I Wrote. Due to this success, Nelson signed in 1964 with RCA Victor and joined the Grand Ole Opry the following year. After mid-chart hits in the late 1960s and the early 1970s, Nelson retired in 1972 and moved to Austin, Texas; the ongoing music scene of Austin motivated Nelson to return from retirement, performing at the Armadillo World Headquarters.
In 1973, after signing with Atlantic Records, Nelson turned to outlaw country, including albums such as Shotgun Willie and Phases and Stages. In 1975, he switched to Columbia Records, where he recorded the critically acclaimed album Red Headed Stranger; the same year, he recorded another outlaw country album, Wanted! The Outlaws, along with Waylon Jennings, Jessi Colter, Tompall Glaser. During the mid-1980s, while creating hit albums like Honeysuckle Rose and recording hit songs like "On the Road Again", "To All the Girls I've Loved Before", "Pancho and Lefty", he joined the country supergroup The Highwaymen, along with fellow singers Johnny Cash, Waylon Jennings, Kris Kristofferson. In 1990, Nelson's assets were seized by the Internal Revenue Service, which claimed that he owed $32 million; the difficulty of paying his outstanding debt was aggravated by weak investments he had made during the 1980s. In 1992, Nelson released The IRS Tapes: Who'll Buy My Memories?. During the 1990s and 2000s, Nelson continued touring extensively, released albums every year.
Reviews ranged from positive to mixed. He explored genres such as reggae, blues and folk. Nelson made his first movie appearance in the 1979 film The Electric Horseman, followed by other appearances in movies and on television. Nelson is a major liberal activist and the co-chair of the advisory board of the National Organization for the Reform of Marijuana Laws, in favor of marijuana legalization. On the environmental front, Nelson owns the bio-diesel brand Willie Nelson Biodiesel, made from vegetable oil. Nelson is the honorary chairman of the advisory board of the Texas Music Project, the official music charity of the state of Texas. Nelson was born in Texas, on April 29, 1933, the son of Myrle Marie and Ira Doyle Nelson, his birth was incorrectly recorded by Dr. F. D. Sims as April 30, he was named Willie by his cousin Mildred, who chose Hugh as his middle name, in honor of her deceased younger brother. Nelson traces his genealogy to the American Revolutionary War, in which his ancestor John Nelson served as a major.
His parents moved to Texas from Arkansas in 1929 to look for work. His grandfather, worked as a blacksmith, while his father worked as a mechanic, his mother left soon after he was born, his father remarried and moved away, leaving Nelson and his sister Bobbie to be raised by their grandparents, who taught singing back in Arkansas and started their grandchildren in music. Nelson's grandfather bought him a guitar when he was six, taught him a few chords, Nelson sang gospel songs in the local church alongside Bobbie, he wrote his first song at age seven, when he was nine, he played guitar for local band Bohemian Polka. During the summer, the family picked cotton alongside other Abbott residents. Nelson disliked picking cotton, so he earned money by singing in dance halls and honky tonks from age 13, which he continued through high school, his musical influences were Hank Williams, Bob Wills, Lefty Frizzell, Ray Price, Ernest Tubb, Hank Snow, Django Reinhardt, Frank Sinatra, Louis Armstrong. Nelson attended Abbott High School, where he was a halfback on the football team, guard on the basketball team, shortstop in baseball.
He raised pigs with the Future Farmers of America. While still at school, he sang and played guitar in The Texans, a band formed by his sister's husband, B
RPM was a Canadian music industry publication that featured song and album charts for Canada. The publication was founded by Walt Grealis in February 1964, supported through its existence by record label owner Stan Klees. RPM ceased publication in November 2000. RPM stood for "Records, Music"; the magazine was reported to have variations in its title over the years such as RPM Weekly and RPM Magazine. RPM maintained several format charts, including Top Singles, Adult Contemporary, Urban, Rock/Alternative and Country Tracks for country music. On 21 March 1966, RPM expanded its Top Singles chart from 40 positions to 100. On December 6, 1980 the main chart became a Top 50 chart and remained this way until August 4, 1984 whereupon it returned to being a Top 100 Singles chart. For the first several weeks of its existence, the magazine did not compile a national chart, but printed the current airplay lists of several major market Top 40 stations. A national chart was introduced beginning with the June 22, 1964 issue, with its first-ever national #1 single being "Chapel of Love" by The Dixie Cups.
Prior to the introduction of RPM's national chart, the CHUM Chart from Toronto radio station CHUM was considered the de facto national chart. The final #1 single in the magazine was "Music" by Madonna; the modern Juno Awards had their origins in an annual survey conducted by RPM since its founding year. Readers of the magazine were invited to mail in survey ballots to indicate their choices under various categories of people or companies; the RPM Awards poll was transformed into a formal awards ceremony, The Gold Leaf Awards in 1970. These became the Juno Awards in following years; the RPM Awards for 1964 were announced in the 28 December 1964 issue: Top male vocalist: Terry Black Top female singer: Shirley Matthews Most promising male vocalist: Jack London Most promising female vocalist: Linda Layne Top vocal instrumental group: The Esquires Top female vocal group: Girlfriends Top instrumental group: Wes Dakus & The Rebels Top folk group: The Courriers Top country male singer: Gary Buck Top country female singer: Pat Hervey Industry man of the year: Johnny Murphy of Cashbox Canada Top record company: Capitol Records of Canada Top Canadian Content record company: Capitol Records of Canada Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Ed Lawson, Quality Records Top album of the year: That Girl by Phyllis MarshallA column on page 6 of that issue noted that the actual vote winner for Top Canadian Content record company was disqualified due to a conflict of interest involving an employee of that company, working for RPM.
Therefore, runner-up Capitol Records was declared the category's winner. The Annual RPM Awards for 1965 were announced in the 17 January 1966 issue, with more country music categories than the previous year: Top male vocalist: Bobby Curtola Top female singer: Catherine McKinnon Most promising male vocalist: Barry Allen Most promising female vocalist: Debbie Lori Kaye Top vocal/instrumental group: The Guess Who Top female vocal group: Girlfriends Top instrumental group: Wes Dakus & The Rebels Top folk group: Malka and Joso Top folk singer: Gordon Lightfoot Best produced single: "My Girl Sloopy", Little Caesar and the Consuls Best produced album: Voice of an Angel by Catherine McKinnon Top country male singer: Gary Buck Top country female singer: Dianne Leigh Most promising country male singer: Angus Walker Most promising country female singer: Sharon Strong Top country instrumental vocal group: Rhythm Pals Top country instrumentalist: Roy Penney Top country radio personality: Al Fisher, CFGM Toronto Top Canadian disc jockey: Chuck Benson, CKYL Peace River Top record company: Capitol Records of Canada Top Canadian Content record company: Capitol Records of Canada Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Charlie Camilleri, Quality Records The winners were: Top male vocalist: Barry Allen Top female singer: Catherine McKinnon Most promising male vocalist: Jimmy Dybold Most promising female vocalist: Lynda Lane Top vocal/instrumental group: Staccatos Top female vocal group: Allan Sisters Top instrumental group: Wes Dakus & The Rebels Top folk group: 3's a Crowd Top folk singer: Gordon Lightfoot Best produced single: "Let's Run Away", Staccatos Top country male singer: Gary Buck Top country female singer: Dianne Leigh Most promising country male singer: Johnny Burke Most promising country female singer: Debbie Lori Kaye Top country instrumental vocal group: Mercey Brothers Top country instrumentalist: Roy Penney Top country radio personality: Ted Daigle Top country radio station: CFGM Top record company: Capitol Records of Canada Top Canadian Content record company: Red Leaf Records Top national record promoter: Paul White, Capitol Records of Canada Top regional record promoter: Al Nair Top Canadian music industry man of the year: Stan Klees List of number-one singles in Canada List of RPM number-one alternative rock singles List of RPM number-one country singles List of RPM number-one dance singles RPM archive charts RPM Library and Archives Canada: "The RPM Story" The Canadian Encyclopedia: RPM Charts archive from 1964 to 1999 on worldcharts.co.uk Megan Thow.
"Critical Miss". Ryerson Review of Journalism. Archived from the original on 27 September 2007. Retrieved 15 September 2007