Robert Jens "Bob" Rock is a Canadian musician, sound engineer, record producer, best known for producing rock bands and music artists such as Metallica, the Tragically Hip, the Cult, Bon Jovi, Mötley Crüe, 311, Our Lady Peace, Bryan Adams, the Offspring, Michael Bublé, Black Veil Brides, David Lee Roth, Ron Sexsmith. Rock began his music career in Langford, British Columbia, as a guitarist playing with friends William Alexander and Paul Hyde in the former's household basement. After high school graduation, Rock left Victoria and became the co-founder of the Payolas, who became well known with the success of their 1980s hit, "Eyes of a Stranger", used as part of the soundtrack of the movie Valley Girl starring Nicolas Cage. In 1983, the Payolas won the Juno Award for Single of the Year. Rock worked as an assistant engineer at Little Mountain Sound in Vancouver. In 1987, the band again changed their name to Rock and Hyde and had a hit single in Canada with the song "Dirty Water"; the song charted on Billboard's Hot 100.
In 2007, the Payolas became active once more as a touring and recording act, releasing the EP Langford Part One. Rock is best known as a producer for heavy metal bands such as Metallica and Mötley Crüe, he has worked with Aerosmith, Bon Jovi, Blue Murder, the Moffatts, the Cult, David Lee Roth, Skid Row, Veruca Salt, Nina Gordon, the Offspring, 311, Our Lady Peace, the Tragically Hip, the Tea Party, American Hi-Fi, Simple Plan, Nelly Furtado, Jann Arden, Ron Sexsmith. Rock returned to performing, forming the band Rockhead with ex-Payolas drummer Chris Taylor; the band released two singles before splitting up. Rock produced the five finalist songs of CBC Sports's Hockey Night in Canada Anthem Challenge in late 2008. In 1990, Rock was chosen to produce Metallica's diamond-certified self-titled album Metallica, he subsequently produced Load and ReLoad as well as the new material for the band's cover album Garage Inc.. After Jason Newsted left Metallica in January 2001, Rock wrote and recorded all of the bass guitar parts on the 2003 album St. Anger.
He played bass during the band's few live performances until Robert Trujillo joined the band in February 2003. Rock was featured prominently in the 2004 documentary film Some Kind of Monster; the film dealt with Metallica's internal strife and their struggles with the creative process during the recording of St. Anger. In February 2006, Metallica chose producer Rick Rubin to produce their next album, ending the band's long-time relationship with Rock. At Metallica's 30th Anniversary Concert on December 10, 2011, Rock joined Metallica onstage and performed bass alongside Trujillo on the songs "Dirty Window" and "Frantic". Rock's career both as a producer and musician was recognized at the 2007 Juno Awards Ceremony in Saskatoon for his lifetime contribution to popular music, he was inducted into the Canadian Music Hall of Fame by the Canadian Academy of Recording Arts and Sciences. "Bob is a musical craftsman whose wide range of talents show no signs of slowing," said Melanie Berry, CARAS President.
"He has helped to define rock as we know it today, we are proud to recognize him in the Canadian Music Hall of Fame."Rock confirmed his acceptance of the award: "It is an honour to join great producers like Bob Ezrin, Bruce Fairbairn, Daniel Lanois, Jack Richardson, David Foster in the Canadian Music Hall of Fame" said Rock. "They are all giants of the industry, to be recognized, means that I had to have worked with great artists. I thank them for their confidence and inspiration."Rock has received nominations for 17 Juno Awards in various categories including "Producer of the Year", "Recording Engineer of the Year", "Composer of the Year", "Entertainer of the Year". He has won on numerous occasions for both his production work and his work with the Payola$ and Rock and Hyde. Rock last won Producer of the Year in 2005 for Simple Plan's "Welcome to My Life", he has been nominated for 2007 Producer of the Year for his work on The Tragically Hip's album World Container. In 2014, Rock won a Grammy Award for Best Traditional Pop Vocal Album for his work on Michael Bublé's album To Be Loved.
Payolas – In a Place Like This Payolas – No Stranger to Danger Strange Advance – Worlds Away Payolas – Hammer on a Drum Paul Hyde & The Payolas – Here's the World for Ya Zappacosta – A to Z Rock and Hyde – Under the Volcano Mötley Crüe – Dr. Feelgood Rockhead – Rockhead Metallica – St. Anger 1979 – Young Canadians – Hawaii 1979 – The Subhumans – Death Was Too Kind 1980 – Pointed Sticks – Perfect Youth 1981 – Payolas – In a Place Like This 1986 – Zappacosta – A to Z 1986 – The Cheer – Shot with Our Own Guns 1987 – Rock and Hyde – Under the Volcano 1988 – Kingdom Come – Kingdom Come 1988 – Colin James 1989 – The Cult – Sonic Temple 1989 – Blue Murder – Blue Murder 1989 – Mötley Crüe – Dr. Feelgood 1989 - Loverboy - Big Ones 1990 – Little Caesar – Little Caesar 1990 – Electric Boys – Funk'o Metal Carpet Ride 1991 – David Lee Roth – A Little Ain't Enough 1991 – Metallica – Metallica 1991 – Mötley Crüe – Decade of Decadence 1992 – Cher - "Love Hurts" 1992 – Bon Jovi – Keep the Faith 1992 – Rockhead – Rockhead 1993 – Quireboys – Bitter Sweet & Twisted 1994 – Mötley Crüe – Mötley Crüe 1994 – The Cult – The Cult 1995 – Skid Row – Subhuman Race 1996 – Metallica – Load 1997 – Metallica – Reload 1997 – Veruca Salt – Eight Arms to Hold You 1998 – Metallica – Garage Inc. 1998 – Bryan Adams – On a Day Like
Nothing Else Matters
"Nothing Else Matters" is a song by American heavy metal band Metallica. It was released in 1992 as Metallica; the song peaked at number 11 on the Billboard Mainstream Rock Tracks chart, number 6 on the UK Singles Chart as well as top-ten on many other European charts. "Nothing Else Matters" was featured as a playable track in the music video game Guitar Hero: Metallica. Recognized as one of Metallica's best known and most popular songs, it has become a staple in live performances; the song has been covered nearly 100 times. Lead singer and rhythm guitarist James Hetfield wrote the song in 1990 while he was on the phone with his girlfriend. Since he held the phone with one hand, he plucked the four open strings of a standard E-minor chord with the other, which made up the first two bars of the song; the lyrics, which talk about being "so close, no matter how far", were dedicated to his girlfriend, indicating the bond they shared when Hetfield was on tour. The song was not meant to be released, as Hetfield had written it for himself, but after drummer Lars Ulrich heard it, it was considered for the album.
The song's demo was called "Nothing Else Matters" and was recorded in Lars Ulrich's home musical studio "Dungeon" on August 13, 1990. Its intro is an E minor arpeggio beginning with the open low E followed by the open G, B and high E strings, it is one of the few Metallica songs. Given that Hetfield recorded all rhythm and most harmony tracks on the band's first five albums and that Hammett has stated he didn't learn how to play the song until they were well into the tour for the album, Hammett does not play on the studio recording, making it one of the few in the whole Metallica repertoire, along with Cliff Burton's " Pulling Teeth", in which he does not appear; the orchestral arrangements were written by award-winning composer Michael Kamen, who would go on to collaborate with the group on S&M. The music video premiered on MTV on February 26, 1992, it was directed by Adam Dubin, edited by Sean Fullan. The clip consists of parts of the A year and a half... video tape, shot during the recordings of Metallica.
One of them shows Hetfield playing a Gibson EDS-1275 guitar during the second chorus. MTV will not air the video during daytime hours anymore because it features nudity in the form of pin-up posters and Playboy centerfolds that are taped up in the studio, it has a picture of Kip Winger which Lars Ulrich is seen throwing darts at. On the band's 2006 music video compilation DVD, the posters are censored, as was done with the nudity featured in the music videos for "Turn the Page" and "Whiskey in the Jar"; the song has now become a staple in Metallica's live performances, has been dedicated to their fans. When played live nowadays, Hammett does the first part of the intro, Hetfield joins in for the second, to sing and play it alone until after the first chorus, when the whole band kicks in; the last verse is left out, ending the song with the distorted guitar solo by Hetfield, fading into "Enter Sandman". A live version on which this can be heard, can be found on the CD/DVD Orgullo, Pasión y Gloria: Tres Noches en la Ciudad de México.
Other live recordings can be found on Live Shit: Binge & Purge, on S&M, Cunning Stunts DVD as well as the DVD/Blu-ray The Big 4 Live from Sofia, Bulgaria as well as on the soundtrack for the band's feature film "Through the Never". This version was released in Europe April 27, 1992 and it contained the three songs Metallica played at the Freddie Mercury Tribute Concert on April 20, 1992 at Wembley Stadium. James Hetfield – vocals and rhythm guitars Jason Newsted - bass Lars Ulrich – drumsAdditional personnel Michael Kamen – orchestral arrangement For its appearance on S&M, its orchestration was arranged by Michael Kamen conducting the San Francisco Symphony Orchestra; this live version is featured on the album S&M. It was released as the single "Nothing Else Matters'99", which included the b-sides "-Human", the S&M version of "For Whom the Bell Tolls", on November 22, 1999; this version was played with guitars tuned to E♭. Year-end charts There is an acoustic remix of "Nothing Else Matters", called the "elevator version" with no electric guitars, Kamen's orchestrations, Hetfield's voice only.
"Nothing Else Matters" is a special Europe-only single by British singer-songwriter Lucie Silvas. It was released in the same way as "Don't Look Back", with the same b-sides and artwork. Chart Stats Lyrics of this song at MetroLyrics
A phonograph record is an analog sound storage medium in the form of a flat disc with an inscribed, modulated spiral groove. The groove starts near the periphery and ends near the center of the disc. At first, the discs were made from shellac. In recent decades, records have sometimes been called vinyl records, or vinyl; the phonograph disc record was the primary medium used for music reproduction throughout the 20th century. It had co-existed with the phonograph cylinder from the late 1880s and had superseded it by around 1912. Records retained the largest market share when new formats such as the compact cassette were mass-marketed. By the 1980s, digital media, in the form of the compact disc, had gained a larger market share, the vinyl record left the mainstream in 1991. Since the 1990s, records continue to be manufactured and sold on a smaller scale, are used by disc jockeys and released by artists in dance music genres, listened to by a growing niche market of audiophiles; the phonograph record has made a notable niche resurgence in the early 21st century – 9.2 million records were sold in the U.
S. in 2014, a 260% increase since 2009. In the UK sales have increased five-fold from 2009 to 2014; as of 2017, 48 record pressing facilities remain worldwide, 18 in the United States and 30 in other countries. The increased popularity of vinyl has led to the investment in new and modern record-pressing machines. Only two producers of lacquers remain: Apollo Masters in California, MDC in Japan. Phonograph records are described by their diameter in inches, the rotational speed in revolutions per minute at which they are played, their time capacity, determined by their diameter and speed. Vinyl records may be scratched or warped if stored incorrectly but if they are not exposed to high heat, carelessly handled or broken, a vinyl record has the potential to last for centuries; the large cover are valued by collectors and artists for the space given for visual expression when it comes to the long play vinyl LP. The phonautograph, patented by Léon Scott in 1857, used a vibrating diaphragm and stylus to graphically record sound waves as tracings on sheets of paper, purely for visual analysis and without any intent of playing them back.
In the 2000s, these tracings were first scanned by audio engineers and digitally converted into audible sound. Phonautograms of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008. Along with a tuning fork tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound. In 1877, Thomas Edison invented the phonograph. Unlike the phonautograph, it could both record and reproduce sound. Despite the similarity of name, there is no documentary evidence that Edison's phonograph was based on Scott's phonautograph. Edison first tried recording sound on a wax-impregnated paper tape, with the idea of creating a "telephone repeater" analogous to the telegraph repeater he had been working on. Although the visible results made him confident that sound could be physically recorded and reproduced, his notes do not indicate that he reproduced sound before his first experiment in which he used tinfoil as a recording medium several months later.
The tinfoil was wrapped around a grooved metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately; the Scientific American article that introduced the tinfoil phonograph to the public mentioned Marey and Barlow as well as Scott as creators of devices for recording but not reproducing sound. Edison invented variations of the phonograph that used tape and disc formats. Numerous applications for the phonograph were envisioned, but although it enjoyed a brief vogue as a startling novelty at public demonstrations, the tinfoil phonograph proved too crude to be put to any practical use. A decade Edison developed a improved phonograph that used a hollow wax cylinder instead of a foil sheet; this proved to be both a better-sounding and far more useful and durable device. The wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century. Lateral-cut disc records were developed in the United States by Emile Berliner, who named his system the "gramophone", distinguishing it from Edison's wax cylinder "phonograph" and American Graphophone's wax cylinder "graphophone".
Berliner's earliest discs, first marketed in 1889, only in Europe, were 12.5 cm in diameter, were played with a small hand-propelled machine. Both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality. In the United States in 1894, under the Berliner Gramophone trademark, Berliner started marketing records of 7 inches diameter with somewhat more substantial entertainment value, along with somewhat more substantial gramophones to play them. Berliner's records had poor sound quality compared to wax cylinders, but his manufacturing associate Eldridge R. Johnson improved it. Abandoning Berliner's "Gramophone" tradem
A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin
Wherever I May Roam
"Wherever I May Roam" is a song by American heavy metal band Metallica. It was released in October 1992 as Metallica. All stringed instruments featured in this song, both guitars and basses, are tuned in the standard tuning of E A D G B E; the original recording of the song is notable for its interesting instrumentation: Asian instruments such as a gong and sitar-like-guitar feature, along with an overdubbed Warwick twelve-string bass. This instrument was only used for'effect' during the intro to emphasize several accented notes and a standardly tuned 4-string bass was used as the main bass instrument throughout the remainder of the recording; the song is performed during the band's live concerts, was performed with the San Francisco Symphony Orchestra on the live S&M and its companion DVD. When performed live, the band has always relied on their original sitar recording for the intro, however for the S&M concerts guitarist Kirk Hammett utilised a Danelectro electric sitar for the intro before switching to his ESP electric guitar.
Jason Newsted never reprised his use of the 12-string bass guitar for any live performances of the song. The music video featured clips from Metallica behind the scenes and in concert, during their Wherever We May Roam Tour; the song's demo was recorded in Lars Ulrich's home musical studio "Dungeon" on August 13, 1990. US single"Wherever I May Roam" – 6:42 "Fade to Black" – 7:43International single"Wherever I May Roam" – 6:43 "Fade to Black" – 7:43 "Wherever I May Roam" – 5:35International digipak single"Wherever I May Roam" – 6:45 "Last Caress" /"Am I Evil?" /"Battery" – 11:59Japanese EP"Wherever I May Roam" – 6:44 "Fade to Black" – 7:44 "Last Caress" /"Am I Evil?" /"Battery" – 11:59
Until It Sleeps
"Until It Sleeps" is a song by American heavy metal band Metallica, released on May 21, 1996 as the lead single from their 1996 album, Load. It was the band's first number one song on the US Billboard Hot Mainstream Rock Tracks chart, as well as their first and only song as of the release of Hardwired... to Self-Destruct to hit the top 10 of the Billboard Hot 100, debuting and peaking at number 10. The song peaked atop the charts of Australia and Finland, becoming the band's only number-one hit in the former two countries; the song was performed with orchestral accompaniment on the album S&M. An early demo version of this song was entitled "F. O. B. D.", because it reminded the band members of the Soundgarden song "Fell on Black Days", in that the "It grips you... It stains you..." refrain is in the same 6/4 time signature that "Fell on Black Days" is in. The band can be heard saying "Fell on Black Days" on the fanclub-only Fancan 1 CD just prior to jamming on a portion of "Until It Sleeps"; the 10" vinyl version of the single is red in color.
Moby, credited as "Herman Melville", did an industrial-sounding remix used as a B-side."Until It Sleeps" became the first "officially" pirated MP3 when it was released by Compress ’Da Audio via an Internet Relay Chat network on August 10, 1996. An EFnet member on the #mpeg3 IRC channel named Coyote666 was responsible for creating the first mp3 ripping software; the song has a music video directed by Samuel Bayer. It was shot in various locations around Los Angeles on May 6 and 7 in 1996, it was premiered by MTV on May 21. The video depicts surreal concepts dealing with fall of a human, taken from various paintings by Hieronymus Bosch. Apart from the general forms inspired from Bosch's paintings, the prominent figures in the video are the human-eating monster from The Garden of Earthly Delights, the fall of Adam and Eve from Haywain and Christ in the Crucifige Eum scene of Ecce Homo; the video of the song won the MTV Video Music Award for Best Rock Video in 1996. The song won a 1996 Metal Edge Readers' Choice Award for Song of the Year
Reload (Metallica album)
Reload is the seventh studio album by American heavy metal band Metallica, released on November 18, 1997 by Elektra Records. The album is a follow-up to Load, released the previous year, Metallica's last studio album to feature bassist Jason Newsted. Reload debuted at number one on the Billboard 200, it was certified 3× platinum by the Recording Industry Association of America for shipping three million copies in the United States. Reload was recorded at a wood-panelled studio in Sausalito, California; the ringmaster for the session was Bob Rock. The album artwork displays a photo by Andres Serrano, titled "Piss and Blood XXVI"; the original idea was to release Reload as a double album. However, with problems recording so many songs at one time, the band decided that half of the songs were to be released and the band would continue to work on the remaining songs and release them the following year. Speaking about the recording sessions in an interview for Guitar World, guitarist Kirk Hammett stated that "We were gonna do them both as a double album, but we didn't want to spend that long in the studio.
If we did a double album, it would have been a lot more material for people to digest, some of it might have gotten lost in the shuffle." It was the final Metallica studio album to feature bassist Jason Newsted, though it was not his last release with the band. This was the second album to feature most songs in E♭ tuning, with "Bad Seed" being played in D♭ tuning and "Devil's Dance" in D tuning. D tuning was earlier used for "The Thing That Should Not Be" on Master of Puppets, "Sad but True" on Metallica and used for "Sabbra Cadabra", "Whiskey in the Jar" from Garage Inc. Six songs from the album have been played live, including "Fuel", "The Memory Remains", "Devil's Dance", "The Unforgiven II", "Carpe Diem Baby", "Low Man's Lyric". There were occasional jam sessions of songs such as "Better Than You", "Bad Seed", "Fixxxer". "Carpe Diem Baby" premiered at Metallica's 30th anniversary concert in 2011. Songs that have not been played live in their entirety are "Better than You", "Slither", "Bad Seed", "Where the Wild Things Are", "Prince Charming", "Attitude", "Fixxxer".
AllMusic's Stephen Thomas Erlewine thought the record was worthwhile and noted it was influenced by Southern rock. He did not approve the idea of doing the sequel "The Unforgiven II", but praised the collaboration with Marianne Faithfull on "The Memory Remains". Dan Snierson from Entertainment Weekly said Reload "continues Metallica's journey into stripped-down maturity while toying with fresh melodic textures" and "also forsakes some of the punchy hooks and gut-clenching heft that elevated recent Metallica CDs". Rolling Stone's Lorraine Ali opined the album was rooted in heavy metal despite some songs being influenced by "bluesy rock & roll", she named it a steppingstone in Metallica's legacy. On the other hand, Musician described the album as "greasy, full of fat grooves and rhythmic hooks, sonic curveballs"; the magazine felt it "captures one of rock's greatest bands at its peak". Canadian journalist Martin Popoff lamented the "dull, unrealized" songwriting in many songs, but praised the production and groove of the album.
British author Paul Stenning said Metallica were "at their best on the likes of opener "Fuel", the inspired follow up to an old favourite in "The Unforgiven II" and the closing "Fixxxer" which had a fantastic lead riff." Reload sold 436,000 units in first week and debuted at number one on the Billboard 200. The album remained on the chart for 75 weeks, sold just over four million copies in the United States by December 2009, it was certified 3× platinum by the Recording Industry Association of America for shipping three million copies in the United States. Reload peaked at number two on the Canadian Albums Chart, was certified double platinum by Music Canada. All lyrics written by James Hetfield. Credits are adapted from the album's liner notes. Production Reload at Discogs