The Ways to Love a Man (album)
The Ways to Love a Man is the sixth studio album by American country music singer-songwriter Tammy Wynette. It was released on January 1970, by Epic Records; the album peaked at No. 3 on Billboard's Country Albums chart and at No. 83 on the Billboard Hot 100. The album's only single, "The Ways to Love a Man", peaked at No. 1 on the Billboard Country Singles chart, Wynette's seventh song to top the chart
Next to You (Tammy Wynette album)
Next to You is the twenty-eighth studio album by American country music singer-songwriter Tammy Wynette. It was released on March 1989, by Epic Records; the album reached No. 42 on the Billboard Top Country Albums chart. The album's first single, "Next to You", peaked at No. 51 on the Billboard Hot Country Singles chart, the second single, "Thank the Cowboy for the Ride", peaked at No. 66. Norro Wilson - producer Denny Purcell - mastering Bill Johnson - album art direction Randee St. Nicholas - album photography Randal Mertin - art assistance
Sometimes When We Touch (album)
Sometimes When We Touch is the twenty-sixth studio album by American country music singer-songwriter Tammy Wynette. It was released on April 1985, by Epic Records; the album peaked at No. 32 on the Billboard Country Albums chart. The album's first single, "Sometimes When We Touch", peaked at No. 6 on the Billboard Country Singles chart, the second single, "You Can Lead a Heart to Love", both peaked at No. 48
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
One (George Jones and Tammy Wynette album)
One is the ninth and final studio album by American country music artists George Jones and Tammy Wynette. This album was released on June 1995 on the MCA Nashville Records label, it was Wynette's first album together in 15 years. The album was Wynette's last studio album she would record before her death in 1998. For many years the idea of a Jones/Wynette reunion had been thought unlikely; the years following their divorce had been filled with acrimony and sniping, made all the more complicated by the fact that they still performed together on occasion. "That wasn't my idea," Jones insisted in his 1996 autobiography. "In fact, I hated to work with her. It brought back too many unpleasant memories, when some fans saw us together, they got it in their heads that we were going to get back together romantically." The publication of Wynette's autobiography Stand By Your Man in 1979, which painted an ugly picture of Jones - and the made-for-TV movie that followed - did not help mollify the relationship.
Jones, who hit rock bottom in the years following the divorce, accepted the responsibility for the failure of the marriage but vehemently denied Wynette's allegations in her autobiography that he beat her and fired a shotgun at her. By the 1990s, both had been remarried for several years and both were enjoying their recognition as country music legends. While the reunion of Jones and Wynette may have been a surprise for many, there had been signs that much of the old enmity that had existed between them had faded. In 1991 they performed together with Randy Travis at the CMA Awards and in 1994 Wynette joined Jones for his duet album The Bradley Barn Sessions on a remake of their 1976 number one "Golden Ring", their collaboration on One had been no doubt motivated by commercial factors as well. Considering the history between the two and the media buzz it would generate, a reunion was an attractive, viable option. AllMusic calls One "a pleasant listen" and contends, "The main pleasure of the record is hearing George and Tammy together again after all these years, but if One is judged by their previous efforts, it looks rather thin."
George Jones' Official Website Tammy Wynette's Official Website Record Label
'Til I Can Make It on My Own (album)
'Til I Can Make It on My Own is the fifteenth studio album by American country music singer-songwriter Tammy Wynette. It was released on March 1976, by Epic Records; the album peaked at No. 3 on the Billboard Country Albums chart. The album's only single, "'Til I Can Make It on My Own", peaked at No. 1 on the Billboard Country Singles chart. Adapted from the album liner notes. Lou Bradley - engineer Billy Sherrill - producer Tammy Wynette - lead vocals
You and Me (Tammy Wynette album)
You and Me is the sixteenth studio album by American country music singer-songwriter Tammy Wynette. It was released on October 1976, by Epic Records; the album peaked at No. 4 on the Billboard Country Albums chart. The album's only single, "You and Me", peaked at No. 1 on the Billboard Country Singles chart. Adapted from the album liner notes. Lou Bradley - engineer The Jordanaires - backing vocals Bill McElhiney - string arrangements Billy Sherrill - producer Tammy Wynette - lead vocals