1.
Single (music)
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In music, a single or record single is a type of release, typically a song recording of fewer tracks than an LP record, an album or an EP record. This can be released for sale to the public in a variety of different formats, in most cases, a single is a song that is released separately from an album, although it usually also appears on an album. Typically, these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular, in other cases a recording released as a single may not appear on an album. As digital downloading and audio streaming have become prevalent, it is often possible for every track on an album to also be available separately. Nevertheless, the concept of a single for an album has been retained as an identification of a heavily promoted or more popular song within an album collection. Despite being referred to as a single, singles can include up to as many as three tracks on them. The biggest digital music distributor, iTunes, accepts as many as three tracks less than ten minutes each as a single, as well as popular music player Spotify also following in this trend. Any more than three tracks on a release or longer than thirty minutes in total running time is either an Extended Play or if over six tracks long. The basic specifications of the single were made in the late 19th century. Gramophone discs were manufactured with a range of speeds and in several sizes. By about 1910, however, the 10-inch,78 rpm shellac disc had become the most commonly used format, the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century.26 rpm. With these factors applied to the 10-inch format, songwriters and performers increasingly tailored their output to fit the new medium, the breakthrough came with Bob Dylans Like a Rolling Stone. Singles have been issued in various formats, including 7-inch, 10-inch, other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc. Some artist release singles on records, a more common in musical subcultures. The most common form of the single is the 45 or 7-inch. The names are derived from its speed,45 rpm. The 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable, the first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s
2.
Wiley (musician)
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He first tasted success as a member of UK garage crew Pay As U Go, with whom he had a top 40 hit, Champagne Dance in 2001. Wiley has continued to make music while also releasing mainstream singles, such as the UK Singles Chart top 10 hits Wearing My Rolex, Never Be Your Woman. As a teenager, Wiley featured on radio stations such as Rinse FM and drum. In 2000, Wiley went from SS Crew to join The Ladies Hit Squad, Gods Gift from Deck Collecters Crew, Flow Dan and Riko Dan joined soon after. In 2002, the collective achieved a top 20 hit with Champagne Dance, Wiley also received wide recognition in 2000 for his UK garage record Nicoles Groove which he produced under the stage name, Phaze One. After Pay As U Go disbanded, Wiley went on to form the Roll Deep entourage and they moved away from a traditional UK garage sound, and eventually found themselves creating music that would be termed grime. From 2001 onwards, Wiley began producing instrumental singles on his Wiley Kat Recordings label, the most famous ones are the Eskimo, Avalanche, Ice Rink and Snowman. These led to a record deal with XL Recordings. In 2004, Wiley released his album, Treddin on Thin Ice on XL. Singles from the album include Wot Do U Call It, a record questioning what name should be given to his music, and Pies. Many reviews, including that by Pitchfork Media, made comparisons between Wiley and his previous labelmate Dizzee Rascal, who had achieved success with Boy in Da Corner the previous year. Alexis Petridis of The Guardian noted the comically polarised fanbase Wiley had accrued, At one extreme, lengthy essays are posted on issues as the differentiation between Humean and Kantian views of motivation in the lyrics of Bonnie Prince Billy. At the other extreme, it is favoured by inner-city teens who appear to communicate entirely in a mix of street slang. During this period, Wiley occasionally referred to his music as eski, also, Wiley released mixtapes under the name Eskiboy. Wiley was quoted in conjunction with his theme, Sometimes I just feel cold hearted. I felt cold at that time, towards my family, towards everyone, thats why I used those names Many of Wileys early vinyl releases, such as Eskimo, were released under the alias Wiley Kat, this name was derived from a character in the cartoon Thundercats. However, the Kat is never used by Wiley anymore. In 2006, Wiley released his second album Da 2nd Phaze on the Boy Better Know label and this was followed in by Wileys third album Playtime is Over on Big Dada Records, an album which followed his eskibeat roots
3.
The Ascent (Wiley album)
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The Ascent is the ninth studio album by English grime artist Wiley. The album was released on 1 April 2013, via Warner Music Group and Boy Better Know, after originally being slated to be released on 4 February and 11 March, the Ascent succeeds Evolve or Be Extinct which was released in January 2012. The album features a variety of genres, varying from dance pop to grime. The lead single Heatwave, featuring Ms D, peaking at number 1 on the UK Singles Chart and this was followed by Can You Hear Me. featuring Skepta, JME and Ms D, Reload featuring Chip and Ms D, all of which peaked in the top 10. The album has spawned four top ten hits in the UK Singles Chart including the one single Heatwave which also charted in Australia. The name of the album was first confirmed by Wiley on 27 September 2012, the albums track list was later revealed on 11 October 2012, detailing sixteen tracks - however, in January 2013, the track list was revised. The album was due to be released on 4 February 2013. The album was again delayed until 1 April 2013, to allow for final edits to be made on the album. Ninja was previously released as a free download. On 19 March 2013, Wiley leaked the album for free temporarily via Twitter after a dispute with iTunes, can You Hear Me. featuring Skepta, JME & Ms D, was released as the albums second single on 28 October 2012. It peaked at #3 on the UK Singles Chart, selling 75,000 copies, Reload, featuring Chip & Ms D, was released as the albums third single on 24 February 2013. It entered the top ten of the UK Singles Chart on the week ending 3 March 2013 at #9, lights On, featuring Angel & Tinchy Stryder, was released as the albums fourth single on 7 June 2013. It also entered the UK Singles Chart at #9
4.
Warner Music Group
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Warner Music Group is an American multinational entertainment and record label conglomerate headquartered in New York City. With a multibillion-dollar annual turnover, WMG employs in excess of 3,500 people and has operations in more than 50 countries throughout the world, the company owns and operates some of the largest and most successful record labels in the world, including its flagship labels Warner Bros. WMG also owns Warner/Chappell Music, one of the worlds largest music publishers, the film company had no record label division at the time and one of its contracted actors, Tab Hunter, scored a hit song for Dot Records, which was a division of rival Paramount Pictures. In order to prevent any repetition of its actors recording for rival companies, in 1963, Warner purchased Reprise Records, which had been founded by Frank Sinatra three years earlier so that he could have more creative control over his recordings. With the Reprise acquisition, Warner gained the services of Mo Ostin, the Canadian unit was opened in 1967 as Warner Reprise Canada Ltd, now called Warner Music Canada Co. After Warner Bros. was sold to Seven Arts Productions in 1967, it purchased Atlantic Records, founded in 1947 and WMGs oldest label and this acquisition brought Neil Young into the company fold, initially as a member of Buffalo Springfield. The Geffen catalogue, now owned by Universal Music Group, represents Youngs only major recordings not under WMG ownership, in 1969, two years after being purchased by Seven Arts, the Warner Bros. -Seven Arts company was sold to the Kinney National Company. Kinney combined the operations of all of its labels. An earlier attempt by Warner Bros. Records to create a distribution arm in 1958 didnt materialize. So in 1969, Elektra Records boss Jac Holzman approached Atlantics Jerry Wexler with the idea of setting up a joint distribution network for Warner, Elektra, an experimental branch was established in Southern California as a possible prototype for an expanded operation. Atlantic, its subsidiary Atco Records, and its affiliate Stax Records paved the way for Warners rise to industry prominence, the purchase brought in Atlantics lucrative back-catalogue, which included classic recordings by Ray Charles, the Drifters, the Coasters, and many more. But the sale led to Stax leaving the Atlantic fold because the new Warner owners insisted on keeping the rights to Stax recordings and it was soon apparent in 1969 that Atlantic/Atco president Ahmet Ertegün viewed Warner/Reprise president Mike Maitland as godlike. Maitland believed that, as vice-president in charge of the Warner Bros, in retrospect Ertegün clearly feared that Maitland would ultimately have more power than him and so he moved rapidly to secure his own position and remove Maitland. Following the takeover, Warners music group briefly adopted the umbrella name Kinney Music, erteguns campaign against Maitland began in earnest that summer. Atlantic had agreed to help Warner Bros. in its efforts to establish its labels overseas, Mike Maitland complained bitterly to Kinney executive Ted Ashley, but to no avail – by this time Ertegun was poised to make his move against Maitland. As he had with Hyman, Ertegun urged Steve Ross to extend Mo Ostin and Joe Smiths contracts, in response, Ertegun broadly hinted that Maitlands days were numbered and that he, Ertegun, was about to take over the recording division. Unlike the Warner/Reprise executives, Atlantics execs the Ertegun brothers and Wexler owned stock in Kinney, on Sunday January 25, Ted Ashley went to Maitlands house to tell him he had been dismissed, and Maitland declined the offer of a job at the movie studio. One week later, Mo Ostin was named as the new President of Warner Bros, Records, with Joe Smith as his Executive Vice-President
5.
Songwriter
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A songwriter is an individual who writes the lyrics, melodies and chord progressions for songs, typically for a popular music genre such as rock or country music. A songwriter can also be called a composer, although the term tends to be used mainly for individuals from the classical music genre. The pressure from the industry to produce popular hits means that songwriting is often an activity for which the tasks are distributed between a number of people. For example, a songwriter who excels at writing lyrics might be paired with a songwriter with a gift for creating original melodies, pop songs may be written by group members from the band or by staff writers – songwriters directly employed by music publishers. Some songwriters serve as their own publishers, while others have outside publishers. The old-style apprenticeship approach to learning how to write songs is being supplemented by university degrees and college diplomas, a knowledge of modern music technology, songwriting elements and business skills are necessary requirements to make a songwriting career in the 2010s. Several music colleges offer songwriting diplomas and degrees with music business modules, the legal power to grant these permissions may be bought, sold or transferred. This is governed by international copyright law, song pitching can be done on a songwriters behalf by their publisher or independently using tip sheets like RowFax, the MusicRow publication and SongQuarters. Skills associated with song-writing include entrepreneurism and creativity, songwriters who sign an exclusive songwriting agreement with a publisher are called staff writers. In the Nashville country music scene, there is a staff writer culture where contracted writers work normal 9-to-5 hours at the publishing office and are paid a regular salary. This salary is in effect the writers draw, an advance on future earnings, the publisher owns the copyright of songs written during the term of the agreement for a designated period, after which the songwriter can reclaim the copyright. In an interview with HitQuarters, songwriter Dave Berg extolled the benefits of the set-up, unlike contracted writers, some staff writers operate as employees for their respective publishers. Under the terms of work for hire agreements, the compositions created are fully owned by the publisher. In Nashville, young writers are often encouraged to avoid these types of contracts. Staff writers are common across the industry, but without the more office-like working arrangements favored in Nashville. All the major publishers employ writers under contract, songwriter Allan Eshuijs described his staff writer contract at Universal Music Publishing as a starter deal. His success under the arrangement eventually allowed him to found his own publishing company, so that he could. keep as much as possible, songwriters are also often skilled musicians. In addition to selling their songs and musical concepts for other artists to sing, songwriters need to create a number of elements for a song
6.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the 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, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, 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 and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
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