"My Propeller" is a song by the English indie rock band Arctic Monkeys. It was released as the third single from the band's third studio album Humbug, as announced on 1 February 2010. Released on 22 March 2010, the single follows its two predecessors from Humbug, "Crying Lightning" and "Cornerstone", with the 10" vinyl being sold at Oxfam charity stores; the 10" version of the single features three new B-sides, with the 7" bringing one new B-side. The video for the single was released on 18 March; the song "Joining the Dots" was revealed during Alex Turner's visit to Little Noise Sessions. Arctic Monkeys planned the third single to be "Pretty Visitors", but was switched to "My Propeller". All lyrics written except where noted. Arctic MonkeysAlex Turner – lead vocals, rhythm guitar, acoustic guitar, glockenspiel Jamie Cook – lead guitar, baritone guitar Nick O'Malley – bass guitar Matt Helders – drums, vocalsAdditional musiciansJohn Ashton – backing vocals, keyboards Lyrics of this song at MetroLyrics
Five Minutes with Arctic Monkeys
Five Minutes with Arctic Monkeys is the debut EP by English rock band Arctic Monkeys, released on 30 May 2005 by Bang Bang Recordings. Released on 30 May 2005, it featured a re-recording of fan favourite "Fake Tales of San Francisco" and new song and B-side "From the Ritz to the Rubble", it was a limited release by Bang Bang Recordings – a label created by the band for the sole purpose of releasing the single. The name, Bang Bang, was mooted as a replacement band name, on the basis that the name Arctic Monkeys sounded "silly". Only 1500 CDs and 1500 vinyl copies were made available, meaning the single is now rare and sought after by fans of the band. Both tracks were re-recorded and included on the band's debut album, Whatever People Say I Am, That's What I'm Not; the record label'Bang Bang Records Limited' was established on may 31st 2005 and the purposed registration office was located at 1 Conduit Street in London. The official director as well as the secretary of the company resigned the day after on June 1 2005.
Arctic Monkeys Signed a contract with the record label Domino Records that month. The official founder of the company is unknown to this day. Bang Bang Recordings was taken over by the manager of Arctic Monkeys, Ian McAndrew and is still owned by him to this day; the current registered location of Bang Bang Recordings is 41 Great Portland Street in London. Alex Turner – lead vocals, rhythm guitar Jamie Cook – lead guitar, backing vocals Andy Nicholson – bass guitar, backing vocals Matt Helders – drums, backing vocals
Billboard is an American entertainment media brand owned by the Billboard-Hollywood Reporter Media Group, a division of Eldridge Industries. It publishes pieces involving news, opinion, reviews and style, is known for its music charts, including the Hot 100 and Billboard 200, tracking the most popular songs and albums in different genres, it hosts events, owns a publishing firm, operates several TV shows. Billboard was founded in 1894 by William Donaldson and James Hennegan as a trade publication for bill posters. Donaldson acquired Hennegen's interest in 1900 for $500. In the early years of the 20th century, it covered the entertainment industry, such as circuses and burlesque shows, created a mail service for travelling entertainers. Billboard began focusing more on the music industry as the jukebox and radio became commonplace. Many topics it covered were spun-off into different magazines, including Amusement Business in 1961 to cover outdoor entertainment, so that it could focus on music.
After Donaldson died in 1925, Billboard was passed down to his children and Hennegan's children, until it was sold to private investors in 1985, has since been owned by various parties. The first issue of Billboard was published in Cincinnati, Ohio by William Donaldson and James Hennegan on November 1, 1894, it covered the advertising and bill posting industry, was known as Billboard Advertising. At the time, billboards and paper advertisements placed in public spaces were the primary means of advertising. Donaldson handled editorial and advertising, while Hennegan, who owned Hennegan Printing Co. managed magazine production. The first issues were just eight pages long; the paper had columns like "The Bill Room Gossip" and "The Indefatigable and Tireless Industry of the Bill Poster". A department for agricultural fairs was established in 1896; the title was changed to The Billboard in 1897. After a brief departure over editorial differences, Donaldson purchased Hennegan's interest in the business in 1900 for $500 to save it from bankruptcy.
That May, Donaldson changed it from a monthly to a weekly paper with a greater emphasis on breaking news. He improved editorial quality and opened new offices in New York, San Francisco and Paris, re-focused the magazine on outdoor entertainment such as fairs, circuses and burlesque shows. A section devoted to circuses was introduced in 1900, followed by more prominent coverage of outdoor events in 1901. Billboard covered topics including regulation, a lack of professionalism and new shows, it had a "stage gossip" column covering the private lives of entertainers, a "tent show" section covering traveling shows, a sub-section called "Freaks to order". According to The Seattle Times, Donaldson published news articles "attacking censorship, praising productions exhibiting'good taste' and fighting yellow journalism"; as railroads became more developed, Billboard set up a mail forwarding system for traveling entertainers. The location of an entertainer was tracked in the paper's Routes Ahead column Billboard would receive mail on the star's behalf and publish a notice in its "Letter-Box" column that it has mail for them.
This service was first introduced in 1904, became one of Billboard's largest sources of profit and celebrity connections. By 1914, there were 42,000 people using the service, it was used as the official address of traveling entertainers for draft letters during World War I. In the 1960s, when it was discontinued, Billboard was still processing 1,500 letters per week. In 1920, Donaldson made a controversial move by hiring African-American journalist James Albert Jackson to write a weekly column devoted to African-American performers. According to The Business of Culture: Strategic Perspectives on Entertainment and Media, the column identified discrimination against black performers and helped validate their careers. Jackson was the first black critic at a national magazine with a predominantly white audience. According to his grandson, Donaldson established a policy against identifying performers by their race. Donaldson died in 1925. Billboard's editorial changed focus as technology in recording and playback developed, covering "marvels of modern technology" such as the phonograph, record players, wireless radios.
It began covering coin-operated entertainment machines in 1899, created a dedicated section for them called "Amusement Machines" in March 1932. Billboard began covering the motion picture industry in 1907, but ended up focusing on music due to competition from Variety, it created a radio broadcasting station in the 1920s. The jukebox industry continued to grow through the Great Depression, was advertised in Billboard, which led to more editorial focus on music; the proliferation of the phonograph and radio contributed to its growing music emphasis. Billboard published the first music hit parade on January 4, 1936, introduced a "Record Buying Guide" in January 1939. In 1940, it introduced "Chart Line", which tracked the best-selling records, was followed by a chart for jukebox records in 1944 called Music Box Machine charts. By the 1940s, Billboard was more of a music industry specialist publication; the number of charts it published grew after World War II, due to a growing variety of music interests and genres.
It had eight charts by 1987, covering different genres and formats, 28 charts by 1994. By 1943, Billboard had about 100 employees; the magazine's offices moved to Brighton, Ohio in 1946 to New York City in 1948. A five-column tabloid format was adopted in November 1950 and coated paper was first used in Billboard's print issues in January 1963, allowing for photojournalis
Don't Sit Down 'Cause I've Moved Your Chair
"Don't Sit Down'Cause I've Moved Your Chair" is a song by the English rock band Arctic Monkeys, from their 2011 album Suck It and See. The song was released as the first single from their fourth studio album Suck It and See and was released as a digital download on 12 April 2011. On 16 April, a "limited-edition white-label seven-inch vinyl version" was released followed by the formal release "on standard seven – and 10-inch vinyl single formats" on 30 May; the song was first played on Zane Lowe's BBC Radio 1 show on 11 April. The music video for the single premiered on 14 April 2011 on YouTube. "The Blond-O-Sonic Shimmer Trap" appears as the Japanese bonus track on Suck It and See. In an interview, Alex Turner said "I. D. S. T" stands for "If Destroyed Still True" and is considered the second part of "Brick by Brick". "Don't Sit Down'Cause I've Moved Your Chair" charted at number 28 in the UK Singles Chart on downloads alone, for the week of 23 April. It spent one week in the top 40, it spent six weeks within the top 100 before a vinyl release propelled it to number 42.
The single dropped out of the chart four weeks later. It has spent 12 total weeks within the top 100, their longest run since 2007's "Fluorescent Adolescent", more than their previous lead single, "Crying Lightning", it is their highest charting single in Belgium, reaching number 50, as well as their second highest in Denmark and Netherlands peaking at number six and number 55 respectively. In the UK, it sold 81,000 copies in 2011; the music video shows the band performing the song through a 1980s-style video camera with huge amounts of colour, distortion and an old computer showing the word "DON'T". The video pans out to see Alex Turner sat on the now infamous chair at the centre of the Kenny/Shiells altercation. Other scenes shown by the distorted colour are the band driving a Cadillac in Los Angeles during recording, Alex showing the V sign, Jamie Cook holding a Scythe on the rocks, the band in a black Daimler DS420 and clips of Sheffield Wednesday vs. Manchester United and Arsenal, citing the band's support of Wednesday.
All lyrics written by Alex Turner. Alex Turner – lead vocals and rhythm guitar Jamie Cook – lead and rhythm guitar Nick O'Malley – bass guitar, backing vocals Matt Helders – drums, backing vocals, lead vocals
Suck It and See (song)
"Suck It and See" is the third single from Arctic Monkeys' fourth studio album Suck It and See released via MP3 digital download and 7" vinyl on 31 October 2011 with the song "Evil Twin" appearing as a B-side. It is one of the rare incidences that a B-side for a single has charted higher than the single itself on release due to downloads, with "Suck It and See" reaching number 149 and "Evil Twin" reaching number 114 on the UK Singles Chart; the music video for the single premiered on 16 September 2011 and for "Evil Twin" premiered on 27 October 2011 on YouTube. The video was directed by Focus Creeps. Videos were released for both songs; the video for "Suck It and See" tells a narrative story of a biker and his relationship with a lover, portrayed by American model Breana McDow. The video mocks the macho nature of American biker culture, it has been suggested that the video is a tongue-in-cheek response to criticism that the band's sound has become too "Americanised". Alex Turner appears in a cameo.
The biker's storyline is continued in the "Black Treacle", "Evil Twin" and arguably the "R U Mine?" video. All lyrics written by Alex Turner. Alex Turner – lead vocals, rhythm guitar Jamie Cook – lead guitar Nick O'Malley – bass guitar, backing vocals Matt Helders – drums, backing vocals Lyrics of this song at MetroLyrics
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 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