Electronic was an English alternative dance supergroup formed by New Order singer and guitarist Bernard Sumner and ex-Smiths guitarist Johnny Marr. They co-wrote the majority of their output between 1989 and 1998, collaborating with Neil Tennant and Chris Lowe, of Pet Shop Boys, on three tracks in their early years, former Kraftwerk member Karl Bartos on nine songs in 1995; the two first met in 1984 when the Smiths guitarist contributed to a Quando Quango track that Sumner was producing. In 1988, Sumner was frustrated because his New Order bandmates were not receptive to his desire to add synth programming to their music, he decided to produce a solo album but found that he did not enjoy working alone, so he called Marr for help. Inspired by contemporary dance music like Italo house and acts such as Technotronic, their initial concept was to release white label records on Factory and remain an anonymous entity, in contrast to their considerable reputations with The Smiths and New Order; the track "Lucky Bag" and the name Electronic itself are two of the vestiges of this initial approach.
In 1989, Pet Shop Boys singer Neil Tennant suggested a collaboration when he heard of the budding partnership through sleeve designer Mark Farrow. The fruits of this union became "Getting Away with It", Electronic's debut single, released in December 1989 and sold around a quarter of a million copies; the drums on this record were played by ABC's David Palmer and the string arrangement was written by Anne Dudley. It was a Top 40 hit in America the following spring and they toured in support for Depeche Mode in August 1990. After this success and Marr took a more commercial direction, blending synthesizers and analogue technology while retaining the template of contemporary alternative rock. After a year of intensive recording, the debut album Electronic was released to critical acclaim and domestic commercial success, featuring the Top 10 single "Get the Message" and another Top 40 single, "Feel Every Beat"; the album sold over a million copies worldwide. As well as its fusion with rock and pop, Electronic continued their interest in dance music by inviting DJs to remix their singles and album tracks.
Prominent acts that worked on Electronic songs around this period include Danny Rampling, DNA, Dave Shaw and Quando Quango founder and Haçienda DJ Mike Pickering. After the first album was released and promoted and Sumner recorded albums with The The and New Order regrouping with Neil Tennant in 1992 to record their fourth and highest-charting single "Disappointed". Electronic was resumed when these activities ended, work began on the second album in late 1994; the core duo was joined by ex-percussionist and songwriter with Kraftwerk. Raise the Pressure was released in July 1996 on the Parlophone label in the Warner Bros.. Like its predecessor it fused dance music with a guitar-led approach, but some reviewers felt its production was too rich and distracted from the songs; the album spawned two guitar oriented singles, "Forbidden City" and "For You", with the dancier "Second Nature" issued in February 1997 and reaching UK #35. Electronic did not promote Raise the Pressure with a tour, although they performed its singles live on television shows including Top of the Pops and TFI Friday.
Instead, they chose to swiftly record their third album. This was to be a reaction to the length of time they spent producing Raise the Pressure, with an emphasis on writing and demoing songs before recording them. Marr and Sumner were joined by Doves bassist Jimi Goodwin and Black Grape drummer Ged Lynch, together they made the album Twisted Tenderness as a more conventional four-piece group; the album did not return the group to their early 1990s levels of popularity but was well received by critics. Neither Sumner nor Marr has gone on record with any formal dissolution of the band despite both having moved on to other projects. However, in 2003 Marr did agree that the band had reached "its natural conclusion" and was happy with the way it ended on a positive note. Sumner recorded with New Order again and in 2009 formed a new band, Bad Lieutenant. Marr has since worked with many acts, including The Healers, Pet Shop Boys, The Cribs and Modest Mouse, as well as releasing multiple solo albums.
Marr and Sumner played with the Doves for the Manchester v Cancer charity concert of January 2006 and the compilation album Get the Message – The Best of was released that September to mild promotion and sales. In July 2013 Sumner joined Marr at Jodrell Bank to perform "Getting Away With It". Marr was supporting for New Order. Bernard Sumner – vocals, keyboards Johnny Marr – guitars, vocals, keyboards CollaboratorsNeil Tennant – vocals, guitar Chris Lowe – keyboards Karl Bartos – percussion, vocals Jimi Goodwin – bass, guitar, keyboards Ged Lynch – drums, percussion feel every beat worldinmotion.net
Craig David Ross is an American guitarist best known for performing and recording with Lenny Kravitz. Craig Ross was raised in Los Angeles, California, he has two daughters named Devon with his first wife Anna. Since 2014, he has been married to Spanish actress Goya Toledo Craig Ross borrowed a guitar from a neighbor's garage at age eight, he began playing his early influences. Before the age of sixteen, Ross started playing the L. A. clubs and formed the band The Broken Homes while in high school, going by the stage name Kreg Ross. They opened for the legendary Stevie Ray Vaughan, INXS, Jerry Lee Lewis, among others, while doing clubs gigs with bands such as Guns N' Roses and Jane's Addiction; the band made three records for MCA records in the 80s, working with producers such as Andy Johns of Zeppelin and Stones fame. This seminal period gave Craig his education in studio work, his musical influences include Albert King, Jimi Hendrix, Jimmy Page. A'chance meeting' in an L. A. pool hall with Lenny Kravitz led to a thirteen year association.
After touring with Kravitz for 1991's "Mama Said", Craig joined Lenny in the studio, co-writing and playing all the guitars on the track "Are You Gonna Go My Way", an anthem that helped elevate Lenny's career to new heights. The collaboration continued with stand-out solos on tracks such as "Believe" and "Is There Any love in Your Heart" helping make Lenny a top rock act. Craig has written and played on every subsequent Lenny album since as well as records by Sheryl Crow, Mick Jagger, B. B. King, Eric Clapton, The Black Crowes, Nikka Costa and others. Ross co-wrote the songs "Spinning Around Over You", "Are You Gonna Go My Way", "Is There Any Love in Your Heart", "Where Are We Runnin'?", "Stillness of Heart", "Lady" with Kravitz, as well as a number of songs on Kravitz's 2008 release It Is Time for a Love Revolution. He toured with Karvitz, including at the Glastonbury Festival in 1999. Ross played on The Black Crowes 2001 album, Lions, on the track "Greasy Grass River", on former Black Crowes guitarist Marc Ford's first solo album, It's About Time in 2003.
Ross, with Lenny Kravitz, performed at the 2012 Kennedy Center Honors tribute to Led Zeppelin by playing "Whole Lotta Love"
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Deborah Anne Dyer, known by the stage name Skin, is a British singer, electronic music DJ, occasional model. As Deborah Dyer, Skin studied Interior Design at Teesside University in Middlesbrough, from which she received an honorary degree, she is best known as the lead vocalist of British rock band Skunk Anansie, a band grouped as part of the Britrock movement in the UK and gained attention for her powerful, wide-ranging voice and trademark bald look. Mavis Bayton, author of Frock Rock, an academic book about women musicians in Britain, says that "women like Skin, Natacha Atlas, Yolanda Charles, Mary Genis, Debbie Smith are now acting as crucial role models for future generations of black women." In 2015, she joined the judging panel of the Italian version of the talent show The X Factor for one season. Skin began her music career in Skunk Anansie, a band grouped as part of the Britrock movement in the UK. Joining Skin in the line up for the band were Martin "Ace" Kent on guitar, Richard "Cass" Lewis on bass guitar, Mark Richardson on drums.
After forming in 1994, the band released three albums – Paranoid & Sunburnt and Post Orgasmic Chill – which sold over 4 million copies worldwide. They are best known for their single "Weak", but have had a series of other hits including "Charity", "Hedonism" and "Charlie Big Potato". In 2001, the band decided to split. Kent released a solo album entitled Still Hungry, Richardson became a replacement drummer for the band Feeder and Skin went on to pursue a solo career. In 2008, drummer Mark Richardson confirmed reports that the band was reforming in an interview with Drummer magazine, said that the band planned to release a'Best Of' as well as new material. On 2 and 3 April 2009, two shows took place at the Monto Water Rats in London under the alias SCAM. A greatest hits album and Trashes, was announced; the album includes three brand new tracks: "Because of You", "Tear the Place Up" and "Squander". After Skunk Anansie split, Skin released her debut solo album Fleshwounds; the album was toned down from her Skunk Anansie days and did not gain the same acclaim from Skunk Anansie fans.
She ditched her trademark bald look and grew her hair into a boyish crop. While the album was not a massive success in the UK, two singles were released from it: "Trashed" and "Faithfulness". "Lost", a double A-side with "Getting Away with It", was a planned third single but was pulled shortly before release. Elsewhere in Europe the album's success was greater. For example, in Italy it peaked at number 6 in the album chart and in Germany at number 18. After releasing Fleshwounds, Skin went on to perform various solo gigs around Europe, she was support for the European leg of Robbie Williams' and Placebo's world tours. Soon after touring she began to record her second album, Fake Chemical State, released for sale on 20 March 2006, preceded by new single Just Let the Sun two weeks earlier; the first single issued from this album was Alone in My Room, a download-only track released on 7 November 2005.'Alone in My Room' was the name given to Skin's first solo tour in two years, which commenced in Berlin in November 2005.
For this album she shaved her head bald again, returning to the look she had in her Skunk Anansie days. Skin's next solo outing was a small promotional'Fake Chemical State' tour, it started in Glasgow on 17 March 2006. She went on to perform many festivals around Europe including Rock Werchter in Belgium and the Southside/Hurricane festivals in Germany, she performed on the main stage at most of these festivals. In February 2008, she announced that she was working with Timo Maas and Martin Buttrich on a side project called "Format-3", her 2008 song "Tear Down These Houses" was released as a part of the soundtrack to Parlami d'Amore, directed by Silvio Muccino. She sings in the opening musical piece "Renaissance", in Medici: Masters of Florence, a Netflix original series released in October 2016. Skin is bisexual. In 2013 she entered into a civil partnership with Christiana Wyly, daughter of American billionaire Sam Wyly, she and Wyly split in 2015. For Skin's full discography, including track listings, see Skin discography.
For Skunk Anansie's full discography see Skunk Anansie discography Solo studio albumsFleshwounds Fake Chemical State Vocals on "Carmen Queasy" from Maxim's 2000 solo album, Hell's Kitchen – UK Chart Number 33 Vocals on "Licking Cream" from Sevendust's second album, Home Vocals on "You Can't Find Peace", by Pale3, made for the Tom Tykwer film Der Krieger und die Kaiserin Vocals on "Good Times", by Ed Case – UK Chart Number 49 Contributes vocals to "Still Standing" from Unity – The Official Athens 2004 Olympic Games Album Performs "Kill Everything" on the OST of L'Empire des Loups Contributes vocals to "La Canzone Che Scrivo Per Te" on the album Che Cosa Vedi by Marlene Kuntz Contributes vocals on "Stagioni D'Amore" from the cast album to the Italian production ofRent Vocals on "Meat" from Tony Iommi's album Iommi Vocals on "Comfort of Strangers" on the OST to Timecode Contributes to charity single "It's Only Rock And Roll" "Not An Addict" – live at Pinkpop 1996 "Army of Me" – live version on Top of the Pops, 5 May 1995 "Anti Love Song" Roberts, David.
British Hit Albums. London: Guinness World Records Limited. ISBN 1-904994-10-5. Official Skin Website Skin at V2 MUSIC UK – her record label Skin on IMDb
Trip hop is a musical genre that originated in the early 1990s in the United Kingdom Bristol. It has been described as "a fusion of hip hop and electronica until neither genre is recognizable", may incorporate a variety of styles, including funk, soul, psychedelia, R&B, house, as well as other forms of electronic music. Trip hop can be experimental. Deriving from idioms of acid house, the term was first used by the British music media to describe the more experimental variant of breakbeat emerging from the Bristol Sound scene in the early 1990s, which contained influences of soul and jazz, it was pioneered by acts like Massive Attack and Portishead. Trip hop achieved commercial success in the 1990s, has been described as "Europe's alternative choice in the second half of the'90s." Common musical aesthetics include a bass-heavy drumbeat emulating the slowed down breakbeat samples typical of hip hop in the 1990s, giving the genre a more psychedelic feel. Vocals in trip hop are female and feature characteristics of various singing styles including R&B, jazz and rock.
The female-dominant vocals of trip hop may be attributable to the influence of genres such as jazz and early R&B, in which female vocalists were more common. However, there are notable exceptions - Massive Attack and Groove Armada collaborates with male & female vocalists, Tricky features vocally in his own productions along with Martina Topley-Bird, Chris Corner provided vocals for albums with Sneaker Pimps. Trip hop is known for its melancholy sound; this may be due to the fact that several acts were inspired by post-punk bands. Tricky opened his second album Nearly God by a version of "Tattoo", a proto-trip-hop song of Siouxsie and the Banshees recorded in 1983. Trip hop tracks incorporate Rhodes pianos, saxophones and flutes, may employ unconventional instruments such as the theremin and Mellotron. Trip hop differs from hip hop in theme and overall tone. Instead of gangsta rap with its hard-hitting lyrics, trip hop offers a more aural atmospherics with instrumental hip hop, turntable scratching, breakbeat rhythms.
Regarded in some ways as a 1990s update of fusion, trip hop may be said to "transcend" the hardcore rap styles and lyrics with atmospheric overtones to create a more mellow tempo. The term "trip-hop" first appeared in print in June 1994. Andy Pemberton, a music journalist writing for Mixmag, used it to describe Mo' Wax Records Artist RPM and DJ Shadow's "In/Flux" single. In Bristol hip hop began to seep into the consciousness of a subculture well-schooled in Jamaican forms of music. DJs, MCs, b-boys and graffiti artists grouped together into informal soundsystems. Like the pioneering Bronx crews of DJs Kool Herc, Afrika Bambataa and Grandmaster Flash, the soundsystems provided party music for public spaces in the economically deprived council estates from which some of their members originated. Bristol's soundsystem DJs, drawing on Jamaican dub music used a laid-back and heavy drum beat. Bristol's Wild Bunch crew became one of the soundsystems to put a local spin on the international phenomenon, helping to birth Bristol's signature sound of trip hop termed "the Bristol Sound".
The Wild Bunch and its associates included at various times in its existence the MC Adrian "Tricky Kid" Thaws, the graffiti artist and lyricist Robert "3D" Del Naja, producer Jonny Dollar and the DJs Nellee Hooper, Andrew "Mushroom" Vowles and Grant "Daddy G" Marshall. As the hip hop scene matured in Bristol and musical trends evolved further toward acid jazz and house in the late 1980s, the golden era of the soundsystem began to end; the Wild Bunch signed a record deal and evolved into Massive Attack, a core collective of 3D, Mushroom and Daddy G, with significant contributions from Tricky Kid and Hooper on production duties, along with a rotating cast of other vocalists. Another influence came from Gary Clail's Tackhead soundsystem. Clail worked with former The Pop Group singer Mark Stewart; the latter experimented with his band Mark Stewart & the Maffia, which consisted of New York session musicians Skip McDonald, Doug Wimbish, Keith LeBlanc, a part of the house band for the Sugarhill Records record label.
Produced by Adrian Sherwood, the music combined hip hop with experimental rock and dub and sounded like a premature version of what became trip hop. In 1993, Kirsty MacColl released "Angel", one of the first examples of the genre crossing over to pop, a hybrid that dominated the charts toward the end of the 1990s. Massive Attack's first album Blue Lines was released in 1991 to huge success in the UK. Blue Lines was seen as the first major manifestation of a uniquely British hip hop movement, but the album's hit single "Unfinished Sympathy" and several other tracks, while their rhythms were sample-based, were not seen as hip hop songs in any conventional sense. Produced by Dollar, Shara Nelson featured on the orchestral "Unfinished", Jamaican dance hall star Horace Andy provided vocals on several other tracks, as he would throughout Massive Attack's career. Massive Attack released their second album entitled Protection in 1994. Although Tricky stayed on in a lesser role, Hooper again produced, the fertile dance music scene of the early 1990s had informed the record, it was seen as an more significant shift away from the Wild Bunch era.
In the June 1994 issue of UK magazine Mixmag, music journalist Andy Pemberton used the term trip hop to describe the hip hop instru
Just Let the Sun
"Just Let the Sun" is the second released from Skin's second album Fake Chemical State. Like her previous single, "Alone in My Room", the song was co-written with Paul Draper from Mansun; this was the first single from the album to be available on CD single. The release featured two B-Sides, "Only Vultures" and "Petrol Station Flowers". "Only Vultures" is used as the opening number to many of Skin's gigs. Just Let The Sun Only Vultures Petrol Station Flowers United Kingdom: #27 Switzerland: #8 Netherlands: #4 Italy: #9 Lyrics of this song at MetroLyrics
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