Michael Jerome Moore, known as Michael Jerome is an American rock musician and drummer. He is a former member of the Toadies, Course of Empire, James Hall's band Pleasure Club, formed in 2002, he was a member of Texas band Pop Poppins. He played on Charlie Musselwhite's 2004 release Sanctuary, has toured or recorded with Blind Boys of Alabama, John Cale, Anna Egge, Tom Freund and many others. Jerome is ambidextrous. Jerome joined the Louisiana-based band Better Than Ezra in 2009, following the departure of the band's drummer of 13 years, Travis McNabb, who had amicably left Better Than Ezra in February 2009 in order to tour full-time with Sugarland. Better Than Ezra's 2009 album, Paper Empire, marked Jerome's recording debut with the band, he has toured with Richard Thompson and John Cale. He recorded four albums with Cale – blackAcetate, Circus Live, Extra Playful and Shifty Adventures in Nookie Wood. Michael Jerome is co-founder of the trio Halls Of The Machine. Mike Graff and Van Eric Martin are the fellow musicians.
Their first album is titled "Atmospheres For Lovers And Sleepers" and was released in 2001. Their second album "Calling All Tribal Dignitaries" will be released in 2017. In 2015 the song "Bono X" of Halls Of The Machine was released worldwide on the Compilation "I. C. - Independent Celebration, Vol. 1" from the German label "Birdstone Records". Jerome resides in California. With Better Than EzraPaper Empire All Together Now With The Blind Boys of AlabamaSpirit of the Century Go Tell It on the Mountain Atom Bomb With John CaleblackAcetate Circus Live Extra Playful Shifty Adventures in Nookie Wood With Course of EmpireInitiation Telepathic Last Words With Robin DanarAltered States With Ana EggeRoad to My Love With Nina FerraroThe Promise With Tom FreundFit to Screen With HolmesComplication Simplified With Steve ForbertOver with You With Alyssa GrahamThe Lock and Soul With k.d. langRecollection With Sara LovThe Young Eyes Seasoned Eyes Were Beaming With Shelby LynneThanks With Taj MahalMaestro With MeikoMeiko With Charlie MusselwhiteOne Night in America Sanctuary With Keaton SimonsCan You Hear Me With Brandi ShearerLove Don't Make You Juliet With Pleasure ClubHere Comes the Trick The Fugitive Kind With Bill PurdyMove My Way With Po' GirlDeer in the Night With Pop PoppinsThe Other Lover Delight in Disorder Live at the Hop Epitome of Simplicity Pop Poppins Non-Pop Specific With Richard ThompsonSemi-Detached Mock Tudor 1000 Years of Popular Music The Old Kit Bag Sweet Warrior Live Warrior Dream Attic Electric Still 13 Rivers With Ben OttewellShapes & Shadows With WavvesAfraid of Heights With Toadies"Dig a Hole" / "I Hope You Die" I. C.
Independent Celebration, Vol. 1 (with Halls Of The Machine: song: "Bono X"
Henry the Human Fly
Henry the Human Fly was the first solo album by British singer/songwriter/guitarist Richard Thompson. It was released in Britain in April 1972 on the Island label and in the US on the Reprise label. All songs written by Richard Thompson. "Roll Over Vaughn Williams" – 4:09 "Nobody’s Wedding" – 3:13 "The Poor Ditching Boy" – 3:01 "Shaky Nancy" – 3:26 "The Angels Took My Racehorse Away" – 4:01 "Wheely Down" – 3:00 "The New St. George" – 2:08 "Painted Ladies" – 3:31 "Cold Feet" – 2:26 "Mary and Joseph" – 1:38 "The Old Changing Way" – 3:55 "Twisted" – 1:58 Richard Thompson – guitar, accordion, tin whistle, mandolin Timi Donald – drums, vocals Pat Donaldson – bass guitar, vocals David Snell – harp Jeff Cole – trombone John Defereri – tenor saxophone Clay Toyani – trumpet Sue Draheim – fiddle Barry Dransfield – fiddle John Kirkpatrick – accordion Andy Roberts – Appalachian dulcimer Sandy Denny – piano, vocals Linda Peters – vocals Ashley Hutchings – vocals uncredited - harmonium, piano
Sweet Warrior is the twelfth studio album by Richard Thompson, released in 2007. Thompson financed the recording of this album himself and licensed the finished album to various labels for distribution. On its release, Sweet Warrior entered Amazon.com's top 20 for music sales. The track "Dad's Gon na Kill Me" was given an advance release via iTunes; the song was singled out for praise by critics and featured prominently in Thompson's live performances in early 2007. This song's lyrics make extensive use of U. S. military slang, convey the thoughts and feelings of an uneasy U. S. soldier fighting in Iraq. It was subsequently used on the closing montage of the first episode of the third season of Sons of Anarchy; this advance release enjoyed airplay on several radio stations and attracted favourable comments from the press and advance publicity for the album. The album received favourable reviews. All songs written by Richard Thompson: "Needle and Thread" - 4:43 "I'll Never Give It Up " - 3:22 "Take Care the Road You Choose" - 6:44 "Mr. Stupid" - 3:53 "Dad's Gonna Kill Me" - 5:16 "Poppy-Red" - 4:37 "Bad Monkey" - 5:13 "Francesca" - 5:17 "Too Late to Come Fishing" - 4:36 "Sneaky Boy" - 2:59 "She Sang Angels to Rest" - 3:25 "Johnny's Far Away" - 4:53 "Guns Are the Tongues" - 7:27 "Sunset Song" - 5:38Bonus tracks on the P-Vine Records release for the Japanese market: "Any Old Body" "Dust and Wine" MusicalRichard Thompson - vocals, electric guitar, steel-string acoustic guitar, accordion, tin whistle, harmonium, hurdy-gurdy, electronic organ, handclaps Michael Hays - rhythm guitar, electric guitar, acoustic guitar, backing vocals Danny Thompson - double bass Taras Prodaniuk - electric bass guitar Michael Jerome - drums, percussion Judith Owen - backing vocals, handclaps Sara Watkins - fiddle Joe Sublett - tenor saxophone Joe Buck - first violin Al Michaels - second violin Novi Ola - viola Simon Tassano - handclaps Chris Kasych - handclaps TechnicalDoug Tyo - engineer Chris Kasych - assistant engineer Simon Tassano - mixing Jim Wilson - mastering Sources consultedOfficial credits pageEndnotes Official lyrics page
British folk rock
British folk rock is a form of folk rock which developed in the United Kingdom from the mid 1960s, was at its most significant in the 1970s. Though the merging of folk and rock music came from several sources, it is regarded that the success of "The House of the Rising Sun" by British band the Animals in 1964 was a catalyst, prompting Bob Dylan to "go electric", in which, like the Animals, he brought folk and rock music together, from which other musicians followed. In the same year, the Beatles began incorporating overt folk influences into their music, most noticeably on their Beatles for Sale album; the Beatles and other British Invasion bands, in turn, influenced the American band the Byrds, who released their recording of Dylan's "Mr Tambourine Man" in April 1965, setting off the mid-1960s American folk rock movement. A number of British groups those associated with the British folk revival, moved into folk rock in the mid-1960s, including the Strawbs and Fairport Convention. British folk rock was taken up and developed in the surrounding Celtic cultures of Brittany, Scotland and the Isle of Man, to produce Celtic rock and its derivatives, has been influential in countries with close cultural connections to Britain.
It gave rise to the genre of folk punk. By the 1980s the genre was in steep decline in popularity, but survived and revived in significance merging with the rock music and folk music cultures from which it originated; some commentators have found a distinction in some British folk rock, where the musicians are playing traditional folk music with electric instruments rather than merging rock and folk music, they distinguish this form of playing by calling it "electric folk". Though the merging of folk and rock music came from several sources, it is regarded that the success of "The House of the Rising Sun" by British band the Animals in 1964 was a catalyst, prompting Bob Dylan to go electric. In the same year, the Beatles began incorporating overt folk influences into their music, most noticeably on the song "I'm a Loser" from their Beatles for Sale album; the Beatles and other British Invasion bands, in turn, influenced the Californian band the Byrds, who began playing folk-influenced material and Bob Dylan compositions with rock instrumentation.
The Byrds' recording of Dylan's "Mr. Tambourine Man" was released in April 1965 and reached #1 on the U. S. and UK singles charts. The Beatles' late 1965 album, Rubber Soul, contained a number of songs influenced by the American folk rock boom, such as "Nowhere Man" and "If I Needed Someone". During this period, a number of electric bands began to play rock versions of folk songs and folk musicians used electric musical instruments to play their own songs, including Dylan at the Newport Folk Festival in the summer of 1965. Folk rock became an important genre among emerging English bands those in the London club scene towards the end of the 1960s; the skiffle movement, to which many English musicians, including the Beatles, owed their origins as performers, meant that they were familiar with American folk music As they emulated the guitar and drum based format that had crystallised as the norm for rock music, these groups turned to American folk and folk rock as the focus of their sound and inspiration.
Among these groups from 1967 were Fairport Convention, who had enjoyed some modest mainstream success with three albums of material, American in origin or style, before a radical change of direction in 1969 with their album Liege & Lief, which came out of the encounter between American inspired folk rock and the products of the English folk revival. The first English folk music revival had seen a huge effort to record and archive traditional English music by figures such as Cecil Sharp and Vaughan Williams in the late 19th and early 20th centuries; the second revival in the period after the Second World War, built on this work and followed a similar movement in America, to which it was connected by individuals like Alan Lomax, who had fled to England in the era of McCarthyism. Like the American revival, it was overtly left wing in its politics, led by such figures as Ewan MacColl and A. L. Lloyd from the early 1950s, it attempted to produce a distinctively English music, an alternative to the American dominance of popular culture, which was, as they saw it, displacing the traditional music of an urbanised and industrialised working class.
Most important among their responses were the foundation of folk clubs in major towns, starting with London where MacColl began the Ballads and Blues Club in 1953. These clubs were urban in location, but the songs sung in them hearkened back to a rural pre-industrial past. In many ways this was the adoption of abandoned popular music by the middle classes. By the mid-1960s there were over 300 folk clubs in Britain, providing an important circuit for acts that performed traditional songs and tunes acoustically, where they could sustain a living by playing to a small but committed audience; this meant that there were, by the 1960s, a group of performers with musical skill and knowledge of a wide variety of traditional songs and tunes. A number of groups who were part of the folk revival experimented with electrification in the mid-1960s; these included the unrecorded efforts of Sweeney's Men from Ireland, the jazz folk group Pentangle, who moved from acoustic to electric, who released one album in 1968, the Strawbs who developed from a bluegrass band into a "progressive Byrds" band by 1967.
However, none provided a sustained or much emulated effort in this direction. Products of the folk club circuit were Sandy Denny who joined Fairport Convention as a s
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
The bass guitar is a plucked string instrument similar in appearance and construction to an electric guitar, except with a longer neck and scale length, four to six strings or courses. The four-string bass is tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest-pitched strings of a guitar, it is played with the fingers or thumb, or striking with a pick. The electric bass guitar has pickups and must be connected to an amplifier and speaker to be loud enough to compete with other instruments. Since the 1960s, the bass guitar has replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary from one style of music to another, the bassist plays a similar role: anchoring the harmonic framework and establishing the beat. Many styles of music include the bass guitar, it is a soloing instrument. According to the New Grove Dictionary of Music and Musicians, an "Electric bass guitar a Guitar with four heavy strings tuned E1'-A1'-D2-G2."
It defines bass as "Bass. A contraction of Double bass or Electric bass guitar." According to some authors the proper term is "electric bass". Common names for the instrument are "bass guitar", "electric bass guitar", "electric bass" and some authors claim that they are accurate; the bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds. In the 1930s, musician and inventor Paul Tutmarc of Seattle, developed the first electric bass guitar in its modern form, a fretted instrument designed to be played horizontally; the 1935 sales catalog for Tutmarc's electronic musical instrument company, featured his "Model 736 Bass Fiddle", a four-stringed, solid-bodied, fretted electric bass guitar with a 30 1⁄2-inch scale length, a single pick up. The adoption of a guitar's body shape made the instrument easier to hold and transport than any of the existing stringed bass instruments; the addition of frets enabled bassists to play in tune more than on fretless acoustic or electric upright basses.
Around 100 of these instruments were made during this period. Audiovox sold their “Model 236” bass amplifier. Around 1947, Tutmarc's son, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948. However, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender and George Fullerton developed the first mass-produced electric bass guitar; the Fender Electric Instrument Manufacturing Company began producing the Precision Bass in October 1951. The "P-bass" evolved from a simple, un-contoured "slab" body design and a single coil pickup similar to that of a Telecaster, to something more like a Fender Stratocaster, with a contoured body design, edges beveled for comfort, a split single coil pickup; the "Fender Bass" was a revolutionary new instrument for gigging musicians. In comparison with the large, heavy upright bass, the main bass instrument in popular music from the early 1900s to the 1940s, the bass guitar could be transported to shows.
When amplified, the bass guitar was less prone than acoustic basses to unwanted audio feedback. In 1953 Monk Montgomery became the first bassist to tour with the Fender bass guitar, in Lionel Hampton's postwar big band. Montgomery was possibly the first to record with the bass guitar, on July 2, 1953 with The Art Farmer Septet. Roy Johnson, Shifty Henry, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from upright bass to the Fender Precision Bass around 1957; the bass guitar was intended to appeal to guitarists as well as upright bass players, many early pioneers of the instrument, such as Carol Kaye, Joe Osborn, Paul McCartney were guitarists. In 1953, following Fender's lead, Gibson released the first short-scale violin-shaped electric bass, with an extendable end pin so a bassist could play it upright or horizontally. Gibson renamed the bass the EB-1 in 1958. In 1958, Gibson released the maple arched-top EB-2 described in the Gibson catalogue as a "hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics".
In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was similar to a Gibson SG in appearance. Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket; the EB-3, introduced in 1961 had a "mini-humbucker" at the bridge position. Gibson basses tended to be smaller, sleeker instruments with a shorter scale length than the Precision. A number of other companies began manufacturing bass guitars during the 1950s: Kay in 1952, Hofner and Danelectro in 1956, Rickenbacker in 1957 and Burns/Supersound in 1958. 1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Höfner 500/1 violin-shaped bass made using violin construction techniques by Walter Höfner, a second-generation violin luthier. The design was known popularly as the "Beat
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