First Light (Richard and Linda Thompson album)
First Light is the fourth album by folk rock duo Richard and Linda Thompson. It was released in 1978 on Chrysalis Records After the release of their third album, Pour Down Like Silver, the Thompsons took an extended break from music, they spent much of the next three years living in sufi communes in Norfolk. This prolonged sabbatical was punctuated by occasional session work by Richard Thompson and a short tour in 1977 in which the duo performed new, overtly religious material and were backed by musicians who were practitioners of the Sufi faith. In 1978 Richard Thompson accepted an invitation from Joe Boyd to play on Julie Covington's eponymous solo debut album; the musicians hired for this album included regarded American session players Willie Weeks, Andy Newmark and Neil Larson, working in the studio with George Harrison. According to Boyd the three Americans were hugely impressed by Thompson's playing and expressed a wish to work with him. Boyd knew that Thompson had some new material and talked Thompson's manager Jo Lustig into taking advantage of the situation: "The material is there and these guys love Richard, they’re gonna kill to play with him.
It would be great."The resulting First Light was the fourth album by Richard and Linda Thompson and marked their resumption of their recording career. It is dominated by some of them direct translations of sufi and koranic texts. In years Thompson expressed dissatisfaction with his recorded output in the late 1970s: "The regrets I would have would be career stuff, I was too flaccid in the 1970s, I just wasn’t thinking enough to make a difference; the 70s, where I made indifferent records, I just didn’t have my mind on the job." All songs written by Richard Thompson.
The piano is an acoustic, stringed musical instrument invented in Italy by Bartolomeo Cristofori around the year 1700, in which the strings are struck by hammers. It is played using a keyboard, a row of keys that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings; the word piano is a shortened form of pianoforte, the Italian term for the early 1700s versions of the instrument, which in turn derives from gravicembalo col piano e forte and fortepiano. The Italian musical terms piano and forte indicate "soft" and "loud" in this context referring to the variations in volume produced in response to a pianist's touch or pressure on the keys: the greater the velocity of a key press, the greater the force of the hammer hitting the strings, the louder the sound of the note produced and the stronger the attack; the name was created as a contrast to harpsichord, a musical instrument that doesn't allow variation in volume. The first fortepianos in the 1700s had smaller dynamic range.
An acoustic piano has a protective wooden case surrounding the soundboard and metal strings, which are strung under great tension on a heavy metal frame. Pressing one or more keys on the piano's keyboard causes a padded hammer to strike the strings; the hammer rebounds from the strings, the strings continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air; when the key is released, a damper stops the strings' vibration, ending the sound. Notes can be sustained when the keys are released by the fingers and thumbs, by the use of pedals at the base of the instrument; the sustain pedal enables pianists to play musical passages that would otherwise be impossible, such as sounding a 10-note chord in the lower register and while this chord is being continued with the sustain pedal, shifting both hands to the treble range to play a melody and arpeggios over the top of this sustained chord.
Unlike the pipe organ and harpsichord, two major keyboard instruments used before the piano, the piano allows gradations of volume and tone according to how forcefully a performer presses or strikes the keys. Most modern pianos have a row of 88 black and white keys, 52 white keys for the notes of the C major scale and 36 shorter black keys, which are raised above the white keys, set further back on the keyboard; this means that the piano can play 88 different pitches, going from the deepest bass range to the highest treble. The black keys are for the "accidentals". More some pianos have additional keys. Most notes have three strings, except for the bass; the strings are sounded when keys are pressed or struck, silenced by dampers when the hands are lifted from the keyboard. Although an acoustic piano has strings, it is classified as a percussion instrument rather than as a stringed instrument, because the strings are struck rather than plucked. There are two main types of piano: the upright piano.
The grand piano is used for Classical solos, chamber music, art song, it is used in jazz and pop concerts. The upright piano, more compact, is the most popular type, as it is a better size for use in private homes for domestic music-making and practice. During the 1800s, influenced by the musical trends of the Romantic music era, innovations such as the cast iron frame and aliquot stringing gave grand pianos a more powerful sound, with a longer sustain and richer tone. In the nineteenth century, a family's piano played the same role that a radio or phonograph played in the twentieth century. During the nineteenth century, music publishers produced many musical works in arrangements for piano, so that music lovers could play and hear the popular pieces of the day in their home; the piano is employed in classical, jazz and popular music for solo and ensemble performances and for composing and rehearsals. Although the piano is heavy and thus not portable and is expensive, its musical versatility, the large number of musicians and amateurs trained in playing it, its wide availability in performance venues and rehearsal spaces have made it one of the Western world's most familiar musical instruments.
With technological advances, amplified electric pianos, electronic pianos, digital pianos have been developed. The electric piano became a popular instrument in the 1960s and 1970s genres of jazz fusion, funk music and rock music; the piano was founded on earlier technological innovations in keyboard instruments. Pipe organs have been used since Antiquity, as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches; the first string instruments with struck strings were the hammered dul
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
Berkeley is a city on the east shore of San Francisco Bay in northern Alameda County, California. It is named after philosopher George Berkeley, it borders the cities of Oakland and Emeryville to the south and the city of Albany and the unincorporated community of Kensington to the north. Its eastern border with Contra Costa County follows the ridge of the Berkeley Hills; the 2010 census recorded a population of 112,580. Berkeley is home to the oldest campus in the University of California system, the University of California and the Lawrence Berkeley National Laboratory, managed and operated by the University, it has the Graduate Theological Union, one of the largest religious studies institutions in the world. Berkeley is considered one of the most liberal cities in the United States; the site of today's City of Berkeley was the territory of the Chochenyo/Huchiun band of the Ohlone people when the first Europeans arrived. Evidence of their existence in the area include pits in rock formations, which they used to grind acorns, a shellmound, now leveled and covered up, along the shoreline of San Francisco Bay at the mouth of Strawberry Creek.
Other artifacts were discovered in the 1950s in the downtown area during remodeling of a commercial building, near the upper course of the creek. The first people of European descent arrived with the De Anza Expedition in 1776. Today, this is noted by signage on Interstate 80, which runs along the San Francisco Bay shoreline of Berkeley; the De Anza Expedition led to establishment of the Spanish Presidio of San Francisco at the entrance to San Francisco Bay. Luis Peralta was among the soldiers at the Presidio. For his services to the King of Spain, he was granted a vast stretch of land on the east shore of San Francisco Bay for a ranch, including that portion that now comprises the City of Berkeley. Luis Peralta named his holding "Rancho San Antonio"; the primary activity of the ranch was raising cattle for meat and hides, but hunting and farming were pursued. Peralta gave portions of the ranch to each of his four sons. What is now Berkeley lies in the portion that went to Peralta's son Domingo, with a little in the portion that went to another son, Vicente.
No artifact survives of the Domingo or Vicente ranches, but their names survive in Berkeley street names. However, legal title to all land in the City of Berkeley remains based on the original Peralta land grant; the Peraltas' Rancho San Antonio continued after Alta California passed from Spanish to Mexican sovereignty after the Mexican War of Independence. However, the advent of U. S. sovereignty after the Mexican–American War, the Gold Rush, saw the Peraltas' lands encroached on by squatters and diminished by dubious legal proceedings. The lands of the brothers Domingo and Vicente were reduced to reservations close to their respective ranch homes; the rest of the land was parceled out to various American claimants. Politically, the area that became Berkeley was part of a vast Contra Costa County. On March 25, 1853, Alameda County was created from a division of Contra Costa County, as well as from a small portion of Santa Clara County; the area that became Berkeley was the northern part of the "Oakland Township" subdivision of Alameda County.
During this period, "Berkeley" was a mix of open land and ranches, with a small, though busy, wharf by the bay. In 1866, Oakland's private College of California looked for a new site, it settled on a location north of Oakland along the foot of the Contra Costa Range astride Strawberry Creek, at an elevation about 500 feet above the bay, commanding a view of the Bay Area and the Pacific Ocean through the Golden Gate. According to the Centennial Record of the University of California, "In 1866…at Founders' Rock, a group of College of California men watched two ships standing out to sea through the Golden Gate. One of them, Frederick Billings, thought of the lines of the Anglo-Irish Anglican Bishop George Berkeley,'westward the course of empire takes its way,' and suggested that the town and college site be named for the eighteenth-century Anglo-Irish philosopher." The philosopher's name is pronounced BARK-lee, but the city's name, to accommodate American English, is pronounced BERK-lee. The College of California's College Homestead Association planned to raise funds for the new campus by selling off adjacent parcels of land.
To this end, they laid out a plat and street grid that became the basis of Berkeley's modern street plan. Their plans fell far short of their desires, they began a collaboration with the State of California that culminated in 1868 with the creation of the public University of California; as construction began on the new site, more residences were constructed in the vicinity of the new campus. At the same time, a settlement of residences and various industries grew around the wharf area called "Ocean View". A horsecar ran from Temescal in Oakland to the university campus along; the first post office opened in 1872. By the 1870s, the Transcontinental Railroad reached its terminus in Oakland. In 1876, a branch line of the Central Pacific Railroad, the Berkeley Branch Railroad, was laid from a junction with the mainline called Shellmound into what is now downtown Berkeley; that same year, the mainline of the transcontinental railroad into Oakland was re-routed, putting the right-of-way along the bay shore through Ocean View.
There was a strong prohibition movement in Berkel
Front Parlour Ballads
Front Parlour Ballads is the eleventh studio album by Richard Thompson, released in 2005. His 2005 release on the Cooking Vinyl label was a homemade album. Thompson's aim was to create an album that sounded intimate. Front Parlour Ballads has been hailed as his first solo, all acoustic album since 1981 but speaking it's neither of those things - percussionist Debra Dobkin plays on two tracks, "Let It Blow" and "My Soul, My Soul" and Thompson himself adds electric guitar to the same two tracks. Thompson had a small studio built in his garage at home and recorded the tracks onto his laptop computer, adding overdubs as he deemed necessary. Dobkin's contributions were recorded in the same way. Thompson did not expect to sell many copies of Front Parlour Ballads; the critics, as usual, acclaimed the new release, but rather more surprising were strong early sales in both the U. S. and Britain, Front Parlour Ballads debuted in the indie charts on both sides of the Atlantic. All songs written by Richard Thompson "Let It Blow" "For Whose Sake?"
"Miss Patsy" "Old Thames Side" "How Does Your Garden Grow?" "My Soul, My Soul" "Cressida" "Row, Boys Row" "The Boys Of Mutton Street" "Precious One" "A Solitary Life" "Should I Betray?" "When We Were Boys At School" Richard Thompson – electric guitar, acoustic guitar, accordion, bass guitar and vocals Debra Dobkin – percussion
Henry Kaiser (musician)
Henry Kaiser is an American guitarist and composer, known as an idiosyncratic soloist, a sideman, an ethnomusicologist, a film score composer. Recording and performing prolifically in many styles of music, Kaiser is a fixture on the San Francisco Bay Area music scene, he is considered a member of the "second generation" of American free improvisers. He is married to Canadian artist Brandy Gale, he is the grandson of industrialist Henry J. Kaiser. In 1977, Kaiser founded Metalanguage Records with Greg Goodman. In 1979 he recorded With Friends Like These with Fred Frith, a collaboration that lasted for over 20 years. In 1983 they recorded Who Needs Enemies, in 1987 the compilation album With Enemies Like These, Who Needs Friends? They joined with fellow experimental musicians John French, English folk-rocker Richard Thompson to form French Frith Kaiser Thompson for two eclectic albums, Love, Larf & Loaf and Invisible Means. In 1999 Frith and Kaiser released Friends & Enemies, a compilation of their two Metalanguage albums along with additional material from 1984 and 1999.
In 1991, Kaiser went to Madagascar with guitarist David Lindley. They recorded roots music with Malagasy musicians and discovered music that, he says, "changed us radically and permanently". Three volumes of this music were released by Shanachie under the title A World Out of Time. In 1994 he made a similar trip to Norway, again with Lindley, recording music, released as Sweet Sunny North. Since 1998, Kaiser has been collaborating with trumpeter Wadada Leo Smith in the "Yo Miles!" project, releasing a series of tributes to Miles Davis's 1970s electric music. This shifting aggregation has included musicians from the worlds of rock, avant-garde, Indian classical music. Kaiser has appeared on more than 250 albums and scored dozens of TV shows and films, including Werner Herzog's Encounters at the End of the World, he was nominated for a Grammy Award for his work on the Beautiful Dreamer tribute to Stephen Foster. In 2001, Kaiser spent two and a half months in Antarctica on a National Science Foundation Antarctic Artists and Writers Program grant.
He has subsequently returned for nine more visits to work as a research diver. His underwater camera work was featured in two Herzog films, The Wild Blue Yonder and Encounters at the End of the World, which he produced, for which he and Lindley composed the score. Kaiser served as music producer for Herzog's Grizzly Man, he was nominated for an Academy Award for his work as a producer on Encounters at the End of the World. Kaiser "has amassed an immense collection of guitars and effect pedals" to achieve "sonic diversity". A favorite of his is a Klein electric with Alembic pickups, he owns a Dumble. He has been looping since at least 1984 with an MXR digital delay, with Lexicon equipment—he sets modulation rates to "either heart or breathing rate, because those are natural healing rhythm rates", he uses two delays to provide three different voices. He is an avid user of a large number of effects pedals including the Hall & Collins Echo unit and a range of fuzzes. Kaiser has listed his essential effects as the Old World 1960 Compressor, Barber Tone Press, Origin Effects Slide Rig, Tech 21 Comptortion, Burns Buzzaround Clones, Tanabe Zenkudo or Dumkudo, Crazy Tube Circuits Starlight, Eventide Pitchfactor, Eventide Eclipse Harmonizer, TC Flashback, Red Panda Particle, Neunaber Wet Reverb.
1977 Ice Death 1979 Protocol with Andrea Centazzo, Toshinoro Kondo 1979 With Friends Like These with Fred Frith 1980 Outside Pleasure 1981 Aloha 1983 Who Needs Enemies? with Fred Frith 1984 It's a Wonderful Life 1984 Invite the Spirit with Sang-Won Park and Charles K. Noyes 1988 Re-Marrying for Money 1988 Those Who Know History Are Doomed to Repeat It 1989 Popular Science with Sergey Kuryokhin 1991 Hope You Like Our New Direction 1991 Tomorrow Knows Where You Live with Jim O'Rourke 1991 A World Out of Time with David Lindley 1993 Wireforks with Derek Bailey 1993 The Five Heavenly Truths 1994 The Sweet Sunny North with David Lindley 1994 Acoustics with Mari Kimura, Jim O'Rourke, John Oswald 1994 The Psychedelic Guitar Circus with Steve Kimock, Harvey Mandel, Freddie Roulette 1995 Eternity Blue 1996 The Sweet Sunny North Volume 2 with David Lindley 1998 Yo Miles! with Waddada Leo Smith 1999 Passwords with Paul Plimley and Danielle DeGruttola 1999 Through with Roberto Zorzi 2002 Heavy Meta with Greg Goodman, Lukas Ligeti 2003 Guitar Party with Glen Phillips 2003 Yo Miles!: Sky Garden with Waddada Leo Smith 2005 Yo Miles!: Upriver with Waddada Leo Smith 2006 Infinity Squared with Andrea Centazzo 2006 Domo Arigato Derek-Sensei!
2007 Zen Kaiju with Kiku Day 2008 Healing Force 2009 Where Endless Meets Disappearing 2009 Plane Crash 2009 Ultraviolet Licorice with Bob Bralove 2010 Electric Willie 2010 A Little Stroke of Light 2011 Everything Forever 2011 Ninja Star Danger Rock with Charles K. Noyes, Weasel Walter 2011 Invisible Rays with Trey Gunn, Morg
Acoustic Classics II
Acoustic Classics II is the seventeenth solo studio album by British singer/songwriter Richard Thompson. It was released by Beeswing Records on 10 August 2017. Acoustic Classics II is the second acoustic compilation album by Richard Thompson; the songs range from his time in Fairport Convention, as half of a duo with Linda Thompson and as a solo artist. The album was released on CD and digital download. On the Metacritic website, which aggregates reviews from critics and assigns a normalised rating out of 100, Acoustic Classics II received a score of 78, based on 1 mixed and 4 positive reviews. Among the critics that gave the album positive reviews, Uncut called the album "an unalloyed treat" adding that "there's something fundamentally satisfying about Thompson unplugged". Andy Gill writing in The Independent states that "there’s no dip in quality here as Richard Thompson revisits material" and Folk Radio UK call the album "one to treasure". David Honigman of TheFinancial Times writes that "this second volume Richard Thompson has recorded of acoustic cover versions of his own songs works better than the first" and Jude Rogers in The Guardian praises Thompson's "authoritative, confident voice" and "pearl-bright guitar-playing".
All tracks written by Richard Thompson except “Crazy Man Michael” by Thompson and Dave Swarbrick Richard Thompson - guitars and vocals