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
Pazz & Jop
Pazz & Jop is an annual poll of musical releases compiled by American newspaper The Village Voice, publishing lists of the year's top releases for 1971 and each year between 1974 and 2017. The polls are tabulated from the submitted year-end top 10 lists of hundreds of music critics, it was named in acknowledgement of the defunct magazine Jazz & Pop, adopted the ratings system used in that publication's annual critics poll. Pazz & Jop was introduced by The Village Voice in 1971 as an album-only poll. Throughout the years, other minor lists had been elicited from poll respondents for releases such as extended plays, music videos, album re-issues, compilation albums—all of which were discontinued after only a few years; the Pazz & Jop albums poll uses a points system to formulate list rankings. Participating critics assigned a number value, ranging from 5 to 30, to each of the albums on their top 10 list, with all 10 albums totaling 100 points; the singles lists, are always unweighted. The idea behind the poll's name was that, since the words "pazz" and "jop" do not exist, participating critics would judge a musical work on its own merits rather than be distracted by categories and genres.
In 1971, English rock band the Who topped the first Pazz & Jop albums poll with Who's Next, while English singer Ian Dury and his band the Blockheads topped the first singles poll with "Hit Me with Your Rhythm Stick". Bob Dylan and Kanye West topped the albums poll the most number of times, with four number-one albums each. West, in addition, won the singles poll of 2005. Music critic Robert Christgau oversaw the Jop poll for more than thirty years. Writing in 2002, author Bernard Gendron cited the lack of overlap between the 1999 poll results and that year's best-selling albums on Billboard's US charts—whereby only five of Pazz & Jop's top 40 appeared in the Billboard list—as indicative of a continued division between the avant-garde aesthetic of cultural accreditation and commercial considerations. Although Pazz & Jop established itself as a critics' poll with a clear identity, it has attracted criticism for its methodology. Addressing the participants in 2001, Mike Doughty of the New York Press complained: "In the guise of a love of music, you've taken the most beautiful nebulous form of human expression, squeezed it through an asinine points-scoring system specially cooked up for this pointless perennial, forced it into this baffling, heinous chart system."Christgau's tenure as Pazz & Jop overseer came to an abrupt end when he was controversially fired from The Village Voice after a company buy-out in August 2006.
In response to his dismissal, several prominent critics publicly announced that they would no longer be turning in their lists for the poll. Regardless, The Village Voice continued to run the feature, with Rob Harvilla succeeding Christgau as music editor and overseer of the poll. Christgau's annual Pazz & Jop overview essay was discontinued and substituted with multiple retrospective articles of the year's music written by a selection of critics. In 2016, the poll's name was changed from Pazz & Jop to the Village Voice Music Critics Poll by the new owners of the newspaper. Christgau, who had continued to vote in the poll since his departure from the newspaper, expressed dismay at the name change; when the 2016 results were announced in January 2017, the poll had reverted to its Jop name. The Village Voice ceased publication altogether in August 2018. Despite the closure of the newspaper, a Pazz & Jop poll for 2018 was announced on December 20, with Christgau confirming its legitimacy on Twitter.
The 2018 poll was published on the Village Voice's website on February 6, 2019. Official Pazz & Jop page at The Village Voice Pazz & Jop polls and essays by Robert Christgau
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 Beatles were an English rock band formed in Liverpool in 1960. The line-up of John Lennon, Paul McCartney, George Harrison and Ringo Starr led the band to be regarded as the foremost and most influential in history. With a sound rooted in skiffle, beat and 1950s rock and roll, the group were integral to the evolution of pop music into an art form, to the development of the counterculture of the 1960s, they incorporated elements of classical music, older pop forms, unconventional recording techniques in innovative ways, in years experimented with a number of musical styles ranging from pop ballads and Indian music to psychedelia and hard rock. As they continued to draw influences from a variety of cultural sources, their musical and lyrical sophistication grew, they came to be seen as embodying the era's sociocultural movements. Led by primary songwriters Lennon and McCartney, the Beatles built their reputation playing clubs in Liverpool and Hamburg over a three-year period from 1960 with Stuart Sutcliffe playing bass.
The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, producer George Martin guided and developed their recordings expanding their domestic success after their first hit, "Love Me Do", in late 1962; as their popularity grew into the intense fan frenzy dubbed "Beatlemania", the band acquired the nickname "the Fab Four", with Epstein and other members of the band's entourage sometimes given the informal title of "fifth Beatle". By early 1964, the Beatles were international stars, leading the "British Invasion" of the United States pop market, breaking numerous sales records, they soon made their motion-picture debut with A Hard Day's Night. From 1965 onwards, they produced innovative recordings, including the albums Rubber Soul, Sgt. Pepper's The Beatles and Abbey Road. In 1968, they founded Apple Corps, a multi-armed multimedia corporation that continues to oversee projects related to the band's legacy.
After the group's break-up in 1970, all four members enjoyed success as solo artists. Lennon was shot and killed in December 1980. McCartney and Starr remain musically active; the Beatles are the best-selling band in history, with estimated sales of over 800 million records worldwide. They are the best-selling music artists in the US, with certified sales of over 178 million units, have had more number-one albums on the British charts, have sold more singles in the UK, than any other act; the group were inducted into the Rock and Roll Hall of Fame in 1988, all four main members were inducted individually between 1994 and 2015. In 2008, the group topped Billboard magazine's list of the all-time most successful artists; the band have received an Academy Award and fifteen Ivor Novello Awards. They were collectively included in Time magazine's compilation of the twentieth century's 100 most influential people. In March 1957, John Lennon aged sixteen, formed a skiffle group with several friends from Quarry Bank High School in Liverpool.
They called themselves the Blackjacks, before changing their name to the Quarrymen after discovering that a respected local group was using the other name. Fifteen-year-old Paul McCartney joined them as a rhythm guitarist shortly after he and Lennon met that July. In February 1958, McCartney invited his friend George Harrison to watch the band; the fifteen-year-old auditioned for Lennon, impressing him with his playing, but Lennon thought Harrison was too young for the band. After a month of Harrison's persistence, during a second meeting, he performed the lead guitar part of the instrumental song "Raunchy" on the upper deck of a Liverpool bus, they enlisted him as their lead guitarist. By January 1959, Lennon's Quarry Bank friends had left the group, he began his studies at the Liverpool College of Art; the three guitarists, billing themselves at least three times as Johnny and the Moondogs, were playing rock and roll whenever they could find a drummer. Lennon's art school friend Stuart Sutcliffe, who had just sold one of his paintings and was persuaded to purchase a bass guitar, joined in January 1960, it was he who suggested changing the band's name to Beatals, as a tribute to Buddy Holly and the Crickets.
They used this name until May, when they became the Silver Beetles, before undertaking a brief tour of Scotland as the backing group for pop singer and fellow Liverpudlian Johnny Gentle. By early July, they had refashioned themselves as the Silver Beatles, by the middle of August shortened the name to The Beatles. Allan Williams, the Beatles' unofficial manager, arranged a residency for them in Hamburg, but lacking a full-time drummer they auditioned and hired Pete Best in mid-August 1960; the band, now a five-piece, left four days contracted to club owner Bruno Koschmider for what would be a 31⁄2-month residency. Beatles historian Mark Lewisohn writes: "They pulled into Hamburg at dusk on 17 August, the time when the red-light area comes to life... flashing neon lights screamed out the various entertainment on offer, while scantily clad women sat unabashed in shop windows waiting for business opportunities." Koschmider had converted a couple of strip clubs in the district into music venues, he placed the Beatles at the Indra Club.
Select was a United Kingdom music magazine of the 1990s, known for covering Britpop, a term coined in the magazine by Stuart Maconie. Its 1993 "Yanks Go Home" edition, featuring The Auteurs, Saint Etienne and Suede's Brett Anderson on the cover in front of a Union Flag, was an important impetus in defining the movement's opposition to American genres such as grunge; the magazine launched in mid 1990 and folded in late 2000, mirroring the rise and decline of the Britpop scene with which it became synonymous. Pop Babylon! Music and Beyond Music for Tomorrow Total Stereo Andrew Perry, deputy editor Harry Borden, visual contributor Giles Duley John Harris Graham Linehan Steve Lowe, contributing editor Dorian Lynskey Stuart Maconie Sarra Manning Caitlin Moran John Mullen, contributing editor Sian Pattenden David Quantick Miranda Sawyer Cass Spencer, art editor Roy Wilkinson, reviews editor Over the years the magazine gave away a number of free compilations; these included: Cassette, Oct 1990 The House of Love: Se dest James: Whoops Yello: Angel no Electribe 101: Talkin' with myself The Walker Brothers: My ship is coming in The Hummingbirds: House taken over Ruby Blue: Quiet mind The Lilac Time: Fields Dusty Springfield: Breakfast in bed Tom Verlaine: Cooleridge The Fall: I'm Frank Cameo: I want it now Factory Records, Cassette, 1991 Northside: Moody Places Instrumental New Order: Bizarre Love Triangle Cath Carroll: Moves Like You Happy Mondays: Kinky Afro The Wendys: Suckling Revenge: The Trouble With Girls Electronic: Lucky Bag Cath Carroll: Next Time Vini Reilly & Durutti Column: Megamix Creation Records, Cassette, 1992 C-RE 128 The Boo Radleys: Lazy day Swervedriver: Son of Mustang Ford Teenage Fanclub: Kylie's got a crush on us Silverfish: Vitriola Love Corporation: Gimme some love Ride:Time of her time (live version from Hultsfred Festival, Sweden August 1991 MK: Play the world The Telescopes: You set my soul Slowdive: Shine Sheer Taft: Atlantis Bill Drummond: The manager's speech Island Records, Cassette, 1993 Stereo MCs: Everything Nine Inch Nails: Wish Ice Cube: U ain't gonna take my life Starclub: Bad machine Freestyle Fellowship: Innercity boundaries The Disposable Heroes of Hiphoprisy: California über alles U2: Salomé PJ Harvey: Hook Dodge City Productions: As long as we're around Sheep on Drugs: Flaming church of baby jesus Apache Indian featuring Shaggy: Chok there The Cranberries: Put me down Cassette, October 1994 - Compiled by Chantal Kershaw and Andrew Harrison The Prodigy: We Eat Rhythm James: Honest Joe House Of Pain: On Point Liquid: Snow Storm Kaliphz: Vokalrekall Orbital: Impact Marxman: Scenes in my Mind Trans-Global Underground: Dopi Jonny L: Jonny L Cassette, Apr 1995 Boo Radleys: Stuck On Amber Gene: Haunted By You EMF: Perfect Day Stereolab: Seeperbold Massive Attack: Magnetic Shield Dub Sleeper: It's Wrong Of You To Breed Steamboat Band: Just Like Me Whiteout: Higher U2: Stay Teenage Fanclub: Nothing To Be Done Spiritualized Electric Mainline: Spread Your Wings Marion: Late Gate Show McAlmont: Worn Away Global Communication: Incidental Harmony Cassette, May 1995 Strata 3: A Man's World Bootman: To The Hip Lionrock: Packet Of Peace Danell Dixon: Earthquake Transglobal Underground: International Stomp Plastikman: Spastik Emmanuel Top: Ecsta Deal Barada: Mathematics Orbital: Are We Here?
Underworld: Dog Man Go Woof New Order 1963 Planetary Assault Systems: Booster Humate3.1 Björk: Human Behaviour Cassette, 1996 Ash: Kung Fu Underworld: Oich Oich Afghan Whigs: You've Changed Edwyn Collins: You Are on Your Own Beth Orton: Live As You Dream Rosa Mota: Shelflife Northern Uproar: Kicks Moby: Every Time You Touch Me David Holmes: Keep The Motor Runnin' Honey Trash Can Sinatras: Pop Place Divine Comedy: Becoming More Like Alfie Cable: Action Replay Replay Cassette, November 1996 Suede: She The Black Crowes: Just Say You're Sorry Genaside II: New Life IV The Hunted Space: Influenza Deus: Roses 18 Wheeler: Stay Baby Bird: Too Handsome To Be Homeless Ash: Punk Boy Dodgy: Grateful Moon Mainstream: Make It Easy The Boo Radleys: One Last Hurrah Cable: Steer Bawl: Crocodiles Tricky: Bad Things CD, June 1997 Blur: Get Out Of Cities Dodgy: Ain't No Longer Mantaray: Behind The Clouds DJ Shadow: The Third Decade, Our Move Hurricane #1: Faces In A Dream Kenickie: Millionaire Sweeper Toaster: Six Million Dollar Goat Bentley Rhythm Ace: Why Is A Frog Too?
Suede: Filmstar The Supernaturals: I Don't Think So Lamb: Cottonwool Spiritualized: Electricity The Candyskins: Help Me Stereophonics: Looks Like Chaplin GusGus: Polydistortion Gorky's Zygotic Mynci: Blood Chant Silver Sun: Bad Haircut Santa Cruz: Celebration On CD, December 1998 Ash: Jesus Says The Wiseguys: Ooh La La Space and Cerys Matthews: The Ballad of Tom Jones The Jon Spencer Blues Explosion: Lovin' Machine The Delgados: Everything Goes Around the Water Stereolab: One Small Step Cuba: Foxy's Den Les Rythmes Digitales: What's that sound Eddie Izzard: Kennedy Cornelius: Free fall Unkle: Rabbit in Your Headlights The Divine Comedy: Commuter Love Quasi: Th
Robert Wolfe Quine was an American guitarist, known for his innovative guitar solos. A native of Akron, Quine worked with a wide range of musicians, though he himself remained unknown in comparison. Critic Mark Demming writes "Quine's eclectic style embraced influences from jazz and blues players of all stripes, his thoughtful technique and uncompromising approach led to rewarding collaborations with a number of visionary musicians."His collaborators included Richard Hell & the Voidoids, Lou Reed, Brian Eno, John Zorn, Ikue Mori, Marc Ribot, Marianne Faithfull, Lloyd Cole, Tom Waits, Matthew Sweet, Jody Harris, many more, including a rare 7" by rock critic and friend Lester Bangs. Bangs once said of him: Someday Quine will be recognized for the pivotal figure that he is on his instrument—he is the first guitarist to take the breakthroughs of early Lou Reed and James Williamson and work through them to a new, individual vocabulary, driven into odd places by obsessive attention to On the Corner-era Miles Davis.
Quine was ranked 80th by Rolling Stone magazine's David Fricke in his list of "100 Greatest Guitarists."Quine was a nephew of the philosopher W. V. Quine and second cousin once removed of the Black Keys' guitarist/vocalist Dan Auerbach. Quine was born in Akron, the son of Rosalie and Robert Cloyd Quine. After graduating from Earlham College in 1965, Quine earned a law degree "out of inertia" from Washington University in St. Louis in 1968. Although he never practiced law and failed the California bar exam on several occasions, he wrote tax law textbooks for Englewood Cliffs, New Jersey-based publisher Prentice Hall for three years after moving to New York City in 1971 by virtue of his admission to the Missouri bar in 1969. Quine enrolled at the Berklee School of Music at an indeterminate point without taking a degree. In 1969, Quine made a series of cassette recordings of the Velvet Underground performing live in St. Louis and San Francisco, where he lived between late 1969 and 1971; these saw official release in 2001 by Polydor Records, titled Bootleg Series Volume 1: The Quine Tapes.
Though lo-fi in sound quality, the album is an important document of the group. In the liner notes, Quine writes: "I got a lot of inspiration from these performances; as a guitar player, they were an important element in shaping what musical direction I wanted to take." While in St. Louis, he performed in a band called Bruce's Farm that specialized in Byrds covers. Throughout his San Francisco years, Quine "sort of began to come up with my own style," performing under the influence of LSD. During this period, his influences included John Coltrane's Ascension, Elvis Presley's singles for Sun Records, Fats Domino, Bo Diddley, James Burton, Mickey Baker and Little Richard. Upon moving to New York, he began to gravitate toward a new array of influences, including the 1972-1975 electric oeuvre of Miles Davis, The Stooges' Raw Power and Brian Eno. After leaving Prentice Hall to focus on his musical career in the mid-1970s, he worked at the Greenwich Village bookstore Cinemabilia with Richard Hell and Tom Verlaine, the co-founders of the influential punk band Television.
Hell invited him to join his new band The Voidoids. Hell's two Voidoid albums feature Quine's distinctive guitar work. After The Voidoids broke up, Quine recorded with Jody Harris and Material. From September 1979 to July 1980, Quine and Harris recorded various guitar improvisations with a drum machine. In 1981, some of those experiments were released as Escape. With Material bandmate Fred Maher, Quine recorded his only other solo album, released in 1984. In the early 1980s, former Velvet Underground frontman Lou Reed drafted Quine to join his group, he appeared on Reed's acclaimed as one of Reed's best albums. The Reed-Quine guitar work leads. Reed's 1983 album Legendary Hearts featured most of the same group, but Quine quit due to tensions with Reed, exacerbated when Reed mixed down or removed most of Quine's guitar parts on Legendary Hearts. Quine claimed that when he got his advance copy of the album, he was so disgusted by this, he smashed the cassette into "smithereens" with a hammer. Reed persuaded Quine to rejoin for a world tour, documented on the video A Night with Lou Reed and the album Live in Italy.
He ended his partnership with Reed for good in 1985. Although Quine collaborated with Eno from the late 1970s to the mid-1980s, "almost none of came out." In a 1997 interview with Perfect Sound Forever, he claimed to have introduced Eno to "He Loved Him Madly," a thirty-two minute 1974 Miles Davis song that Eno has cited as a pivotal influence in his development of ambient music. Throughout the remainder of the 1980s, Quine made scattered appearances as a session player on records by Tom Waits, John Zorn, Marianne Faithfull and Scritti Politti. In the late 1980s and early 1990s, Quine began collaborations with a few musicians wh
Altered Beast (album)
Altered Beast is the fourth album by alternative rock musician Matthew Sweet. It was released on Zoo Entertainment in 1993; some of the album's guest musicians included drumming by Mick Fleetwood, Jody Stephens and Pete Thomas, guitaring by Richard Lloyd, Robert Quine and Ivan Julian, keyboarding by Nicky Hopkins, fiddle by Byron Berline on the lead single, "The Ugly Truth". The cover of the album, produced in five different colored versions, features a dinosaur logo. Sweet wanted to use the logo of the Japanese delivery company Yamato Transport on the cover, but was denied permission. Initial responses to the record were mixed, with Rolling Stone writing that it had "inspiring moments. AllMusic agreed that the album is "all over the place", yet noted that "it takes a bit of time for all of it to make sense, but after a few listens, it falls together." In 2018, independent vinyl reissue label Intervention Records announced that it would be releasing Artist-Approved 2 LP Expanded Editions of 100% Fun, Altered Beast, Girlfriend, the three albums will be released on CD/SACD.
Intervention announced a first time on vinyl reissue of Son of Altered Beast. The title of the album is based on the arcade game Altered Beast. Sweet has declared the title meant "whatever is inside you that someday might explode, maybe you don't know it's there", which he found similar to the game, where "you have to find these little power-up things, when you eat them you become the Altered Beast, this other creature that's powerful and violent"; the track, "Intro", is a clip from Caligula. All songs written by Matthew Sweet. "Dinosaur Act" - 4:05 "Devil with the Green Eyes" - 4:43 "The Ugly Truth" - 3:18 "Time Capsule" - 3:56 "Someone to Pull the Trigger" - 3:55 "Knowing People" - 4:25 "Life Without You" - 2:18 "Intro" - 0:46 "Ugly Truth Rock" - 2:58 "Do It Again" - 3:33 "In Too Deep" - 3:54 "Reaching Out" - 4:00 "Falling" - 4:50 "What Do You Know?" - 4:27 "Evergreen" - 4:23 Robert Quine plays lead guitar on Dinosaur Act, Devil With the Green Eyes, Ugly Truth, Time Capsule, Do It Again, Reaching Out, What Do You Know?, Evergreen.
Richard Lloyd plays lead guitar on Knowing People, Ugly Truth Rock, In Too Deep, Falling. Ivan Julian plays lead guitar on Someone to Pull Life Without You. *The Ugly Truth", directed by Matthew Sweet *Time Capsule", directed by Douglas Gayeton