All in the Mind (song)
"All in the Mind" is a song by English rock band The Verve and was released as the band's first single in the United Kingdom on 9 March 1992. "All in the Mind" and its B-sides "One Way to Go" and "A Man Called Sun" were recorded at Blue Bell Hill Studios in Kent, England in November 1991 with producer Paul Schroeder. On its release, the song topped the independent charts, as did their following two singles, "She's a Superstar" and "Gravity Grave"; the song, made little headway into the mainstream charts. Just like the early Verve performances, the music had huge psychedelic connections and references in the lyrics, such as "I was born to fly, pretty high." CD HUTCD 12All in the Mind One Way to Go Man Called Sun7" HUT 12All in the Mind One Way to Go12" HUTT 12All in the Mind Man Called Sun One Way to Go The video for the song was recorded in the flat of its director, Miles Aldridge, in London E1. The song shows the band playing in a hazy room, with a dark blue light in the background. Various band members are seen pushed up against a bare wall.
Music video Lyrics of this song at MetroLyrics
She's a Superstar
"She's a Superstar" is a song by The Verve and was released as the band's second single in the United Kingdom on 22 June 1992. It reached number 66 on the UK Singles Chart. "She's a Superstar" and "Feel" were recorded during spring 1992 in the swimming pool at The Manor Studio because, according to Miles Aldridge, the pool had a "beautiful echo effect with the music going over the water...there was a lot of smoking and acid involved in that session."A music video was shot for this song in Thor's Cave, Staffordshire. The cover of this single was taken on Snake Pass, Derbyshire and was the basis for their greatest hits album, This Is Music: The Singles 92–98. CD HUTCD 16 / 12" HUTT 16She's a Superstar - 8:56 Feel - 10:427" HUT 16She's a Superstar - 5:03 Feel - 10:42 Lyrics of this song at MetroLyrics Music video
New Musical Express is a British music journalism website and former magazine, published since 1952. It was the first British paper to include a singles chart, in the edition of 14 November 1952. In the 1970s it became the best-selling British music newspaper. During the period 1972 to 1976, it was associated with gonzo journalism became associated with punk rock through the writings of Julie Burchill, Paul Morley and Tony Parsons, it started as a music newspaper, moved toward a magazine format during the 1980s and 1990s, changing from newsprint in 1998. An online version, NME.com, was launched in 1996. It became the world's biggest standalone music site, with over sixteen million users per month. With newsstand sales falling across the UK magazine sector, the magazine's paid circulation in the first half of 2014 was 15,830. In 2013, the list of NME's The 500 Greatest Albums of All Time and the way it was conceived was criticized by the media; the printed magazine NME was relaunched in September 2015 to be distributed nationally as a free publication.
The first average circulation published in February 2016 of 307,217 copies per week was the highest in the brand's history, beating the previous best of 306,881, recorded in 1964 at the height of the Beatles' fame. By December 2017, according to the Audit Bureau of Circulations, average distribution of NME had fallen to 289,432 copies a week, although its publisher Time Inc. UK claimed to have more than 13m global unique users per month, including 3m in the UK. In March 2018, the publisher announced that the print edition of NME would cease publication after 66 years, leaving it as an online-only title. NME's headquarters are in Southwark, England; the brand's current editor is Charlotte Gunn, replacing Mike Williams, who stepped down in February 2018. The paper was established in 1952; the Accordion Times and Musical Express was bought by London music promoter Maurice Kinn, for the sum of £1,000, just 15 minutes before it was due to be closed. It was relaunched as the New Musical Express, was published in a non-glossy tabloid format on standard newsprint.
On 14 November 1952, taking its cue from the US magazine Billboard, it created the first UK Singles Chart, a list of the Top Twelve best-selling singles. The first of these was, in contrast to more recent charts, a top twelve sourced by the magazine itself from sales in regional stores around the UK; the first number one was "Here in My Heart" by Al Martino. During the 1960s the paper championed the new British groups emerging at the time; the NME circulation peaked under Andy Gray with a figure of 306,881 for the period from January to June 1964. The Beatles and the Rolling Stones were featured on the front cover; these and other artists appeared at the NME Poll Winners' Concert, an awards event that featured artists voted as most popular by the paper's readers. The concert featured a ceremony where the poll winners would collect their awards; the NME Poll Winners' Concerts took place between 1959 and 1972. From 1964 onwards they were filmed and transmitted on British television a few weeks after they had taken place.
In the mid-1960s, the NME was dedicated to pop while its older rival, Melody Maker, was known for its more serious coverage of music. Other competing titles included Record Mirror, which led the way in championing American rhythm and blues, Disc, which focused on chart news; the latter part of the decade saw the paper chart the rise of psychedelia and the continued dominance of British groups of the time. During this period some sections of pop music began to be designated as rock; the paper became engaged in a sometimes tense rivalry with Melody Maker. By the early 1970s, NME had lost ground to Melody Maker, as its coverage of music had failed to keep place with the development of rock music during the early years of psychedelia and progressive rock. In early 1972 the paper found itself on the verge of closure by its owner IPC. According to Nick Kent: After sales had plummeted to 60,000 and a review of guitar instrumentalist Duane Eddy had been printed which began with the immortal words "On this, his 35th album, we find Duane in as good as voice as ever," the NME had been told to rethink its policies or die on the vine.
Alan Smith was made editor in 1972, was told by IPC to turn things around or face closure. To achieve this and his assistant editor Nick Logan raided the underground press for writers such as Charles Shaar Murray and Nick Kent, recruited other writers such as Tony Tyler, Ian MacDonald and Californian Danny Holloway. According to The Economist, the New Musical Express "started to champion underground, up-and-coming music.... NME became the gateway to a more rebellious world. First came glamrock, bands such as T. Rex, came punk....by 1977 it had become the place to keep in touch with a cultural revolution, enthralling the nation's listless youth. Bands such as Sex Pistols, X-Ray Spex and Generation X were regular cover stars, eulogised by writers such as Julie Burchill and Tony Parsons, whose nihilistic tone narrated the punk years perfectly." By the time Smith handed the editor's chair to Logan in mid-1973, the paper was selling nearly 300,000 copies per week and was outstripping Melody Maker, Record Mirror and Sounds.
According to MacDonald: I think all the other papers knew by 1974 that NME had become the best music paper in Britain. We had most of the best writers and photographers, the best layouts
Bitter Sweet Symphony
"Bitter Sweet Symphony" is a song by English alternative rock band the Verve. It is the lead track on Urban Hymns, it is based on a sample it uses from the Andrew Loog Oldham orchestral cover of the Rolling Stones' song "The Last Time", involved some legal controversy surrounding a plagiarism charge instigated by controversial Stones manager Allen Klein. As a result, Mick Jagger and Keith Richards were added to the songwriting credits, the Stones and Klein received 100% royalties. Released in June 1997 by Hut Recordings as the first single from the album, "Bitter Sweet Symphony" reached number two on the UK Singles Chart and stayed in the chart for three months; the song was released in the US as a CD single on 3 March 1998 by Virgin Records America, reaching No. 12 on the Billboard Hot 100,The accompanying music video features lead vocalist Richard Ashcroft walking down a busy London pavement – in Hoxton Street, Hoxton – oblivious to what is going on around and refusing to change his stride or direction throughout.
Considered one of the defining songs of the Britpop era, at the 1998 Brit Awards, "Bitter Sweet Symphony" was nominated for Best British Single. The music video was nominated for Video of the Year, Best Group Video, Best Alternative Video at the 1998 MTV Video Music Awards. Acclaimed in music publications, it was named Rolling Stone and NME Single of the Year for 1997. In 1999, the song was nominated for the Grammy Award for Best Rock Song. Although the song's lyrics were written by Verve vocalist Richard Ashcroft, its distinctive passage for strings was sampled from the 1965 Andrew Oldham Orchestra symphonic recording of "The Last Time", arranged and written by David Whitaker, inspired by the 1965 Rolling Stones' song of the same title; the Rolling Stones' song was itself inspired by "This May Be the Last Time" from the Staple Singers. The Verve had negotiated a licence to use a six-note sample from the Oldham recording, but former Stones manager Allen Klein claimed that the Verve broke the agreement and used a larger portion.
Despite its original lyrics and string intro on the album version, the music of "Bitter Sweet Symphony" was sampled from the Oldham track, which led to a lawsuit with ABKCO Records, Klein's holding company, settled out of court. The Verve relinquished all of their royalties to Klein, owner of ABKCO Records, whilst songwriting credits were changed to Jagger/Richards/Ashcroft; the Verve bassist Simon Jones said, "We were told it was going to be a 50/50 split, they saw how well the record was doing. They rung up and said we want 100 percent or take it out of the shops, you don't have much choice." After losing the composer credits to the song, Ashcroft commented, "This is the best song Jagger and Richards have written in 20 years", noting it was their biggest UK hit since "Brown Sugar". On Ashcroft's return to touring, the song traditionally ended the set list. Ashcroft reworked the single for VH2 Live for the music channel VH1, stripping the song of its strings. Ashcroft is quoted as saying during the show: "It's interesting stripping that song down and taking away all the strings, just taking it down to the chords and my lyrics and my melody, doing that kinda version it becomes much more bluesy.
Shows that take away the dressing, take away the strings, take away the sample, there's an actual song there."In a 1999 interview with Q magazine, when asked whether he believed the result was fair, Keith Richards replied, "I'm out of whack here, this is serious lawyer shit. If the Verve can write a better song, they can keep the money."In 1999, Andrew Oldham sued for royalties after failing to receive the mechanical royalties he claimed he was owed. After receiving his royalties, Oldham joked that he bought "a pretty presentable watch strap" compared to the watch Jagger and Richards would get with the money. In an interview with Uncut magazine, Oldham stated, "As for Richard Ashcroft, well, I don't know how an artist can be damaged by that experience. Songwriters have learned to call songs their children, he thinks he wrote something, he didn't. I hope, it takes a while." "This was the most successful track I've done," noted producer Youth. "I think Richard had cut a version with John Leckie but, by the time I came on board, he didn't want to do the song.
I persuaded him to have a go at cutting a version but at first he wasn't into it. It was. Towards the end, Richard wanted to chuck all the album away and start again. What was my reaction? Horror. Sheer horror. All I could say was, I think you should reconsider." The music video is a homage to the single continuous shot docu-fiction music video for Massive Attack's "Unfinished Sympathy" and focuses on Ashcroft singing while walking down a busy London pavement, without changing his stride or direction throughout, except for one instance where he is forced to stop for a moving car and a reflection is seen of him standing stationary in the car's tinted window. He narrowly avoids being hit by a car as he starts his walk bumping into passers-by, he jumps on top of the bonnet of another vehicle stopped in his path. At the end of the video, the rest of the Verve join Ashcroft, the final shot sees them walking down the street into the distance; this leads into the beginning of the video for "
The Compact Cassette, Compact Audio Cassette or Musicassette commonly called the cassette tape or tape or cassette, is an analog magnetic tape recording format for audio recording and playback. It was developed by Philips in Hasselt and released in 1962. Compact cassettes come in two forms, either containing content as a prerecorded cassette, or as a recordable "blank" cassette. Both forms are reversible by the user; the compact cassette technology was designed for dictation machines, but improvements in fidelity led the Compact Cassette to supplant the Stereo 8-track cartridge and Reel-to-reel tape recording in most non-professional applications. Its uses ranged from portable audio to home recording to data storage for early microcomputers; the first cassette player designed for use in car dashboards was introduced in 1968. Between the early 1970s and the early 2000s, the cassette was one of the two most common formats for prerecorded music, first alongside the LP record and the compact disc.
Compact Cassettes contain two miniature spools, between which the magnetically coated, polyester-type plastic film is passed and wound. These spools and their attendant parts are held inside a protective plastic shell, 4 by 2.5 by 0.5 inches at its largest dimensions. The tape itself was referred to as "eighth-inch" tape 1⁄8 inches wide, but it was larger: 0.15 inches. Two stereo pairs of tracks or two monaural audio tracks are available on the tape; this reversal is achieved either by flipping the cassette, or by the reversal of tape movement when the mechanism detects that the tape has come to an end. In 1935, decades before the introduction of the Compact Cassette, AEG released the first reel-to-reel tape recorder, with the commercial name "Magnetophon", it was based on the invention of the magnetic tape by Fritz Pfleumer, which used similar technology but with open reels. These instruments were expensive and difficult to use and were therefore used by professionals in radio stations and recording studios.
In 1958, following four years of development, RCA Victor introduced the stereo, quarter-inch, reel-to-reel RCA tape cartridge. However, it was a large cassette, offered few pre-recorded tapes. Despite the multiple versions, it failed. Consumer use of magnetic tape machines took off in the early 1960s, after playback machines reached a comfortable, user-friendly design; this was aided by the introduction of transistors which replaced the bulky and costly vacuum tubes of earlier designs. Reel-to-reel tape became more suitable to household use, but still remained an esoteric product. WIRAG, the Vienna division of Philips developed a cartridge, described as single-hole cassette, adapted from its German described name Einloch-Kassette. Tape and tape speed were identical with the Compact Cassette. Grundig came up with the DC-International derived from blue prints of the Compact Cassette in 1965, but failed on the demand of distributing companies. In 1962, Philips invented the Compact Cassette medium for audio storage, introducing it in Europe on 30 August 1963 at the Berlin Radio Show, in the United States in November 1964, with the trademark name Compact Cassette.
The team at Philips was led by Lou Ottens in Hasselt, Belgium."Philips was competing with Telefunken and Grundig in a race to establish its cassette tape as the worldwide standard, it wanted support from Japanese electronics manufacturers." However, the Philips' Compact Cassette became dominant as a result of Philips' decision to license the format free of charge. Philips released the Norelco Carry-Corder 150 recorder/player in the US in November 1964. By 1966 over 250,000 recorders had been sold in the US alone and Japan soon became the major source of recorders. By 1968, 85 manufacturers had sold over 2.4 million players. By the end of the 1960s, the cassette business was worth an estimated 150 million dollars. In the early years sound quality was mediocre, but it improved by the early 1970s when it caught up with the quality of 8-track tape and kept improving; the Compact Cassette went on to become a popular alternative to the 12-inch vinyl LP during the late 1970s. The mass production of "blank" Compact Cassettes began in 1964 in Germany.
Prerecorded music cassettes were launched in Europe in late 1965. The Mercury Record Company, a US affiliate of Philips, introduced M. C. to the US in July 1966. The initial offering consisted of 49 titles. However, the system had been designed for dictation and portable use, with the audio quality of early players not well suited for music; some early models had an unreliable mechanical design. In 1971, the Advent Corporation introduced their Model 201 tape deck that combined Dolby type B noise reduction and chromium oxide tape, with a commercial-grade tape transport mechanism supplied by the Wollensak camera division of 3M Corporation; this resulted in the format being taken more for musical use, started the era of high fidelity cassettes and players. Although the birth and growth of the cassette began in the 1960s, its cultural moment took place during the 1970s and 1980s; the cassette's popularity grew
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
String instruments, stringed instruments, or chordophones are musical instruments that produce sound from vibrating strings when the performer plays or sounds the strings in some manner. Musicians play some string instruments by plucking the strings with their fingers or a plectrum—and others by hitting the strings with a light wooden hammer or by rubbing the strings with a bow. In some keyboard instruments, such as the harpsichord, the musician presses a key that plucks the string. With bowed instruments, the player pulls a rosined horsehair bow across the strings, causing them to vibrate. With a hurdy-gurdy, the musician cranks. Bowed instruments include the string section instruments of the Classical music orchestra and a number of other instruments. All of the bowed string instruments can be plucked with the fingers, a technique called "pizzicato". A wide variety of techniques are used to sound notes on the electric guitar, including plucking with the fingernails or a plectrum, strumming and "tapping" on the fingerboard and using feedback from a loud, distorted guitar amplifier to produce a sustained sound.
Some types of string instrument are plucked, such as the harp and the electric bass. In the Hornbostel-Sachs scheme of musical instrument classification, used in organology, string instruments are called chordophones. Other examples include the sitar, banjo, mandolin and bouzouki. In most string instruments, the vibrations are transmitted to the body of the instrument, which incorporates some sort of hollow or enclosed area; the body of the instrument vibrates, along with the air inside it. The vibration of the body of the instrument and the enclosed hollow or chamber make the vibration of the string more audible to the performer and audience; the body of most string instruments is hollow. Some, however—such as electric guitar and other instruments that rely on electronic amplification—may have a solid wood body. Dating to around c. 13,000 BC, a cave painting in the Trois Frères cave in France depicts what some believe is a musical bow, a hunting bow used as a single-stringed musical instrument.
From the musical bow, families of stringed instruments developed. In turn, this led to being able to play chords. Another innovation occurred when the bow harp was straightened out and a bridge used to lift the strings off the stick-neck, creating the lute; this picture of musical bow to harp bow has been contested. In 1965 Franz Jahnel wrote his criticism stating that the early ancestors of plucked instruments are not known, he felt that the harp bow was a long cry from the sophistication of the 4th-century BC civilization that took the primitive technology and created "technically and artistically well-made harps, lyres and lutes."Archaeological digs have identified some of the earliest stringed instruments in Ancient Mesopotamian sites, like the lyres of Ur, which include artifacts over three thousand years old. The development of lyre instruments required the technology to create a tuning mechanism to tighten and loosen the string tension. Lyres with wooden bodies and strings used for plucking or playing with a bow represent key instruments that point towards harps and violin-type instruments.
Musicologists have put forth examples of that 4th-century BC technology, looking at engraved images that have survived. The earliest image showing a lute-like instrument came from Mesopotamia prior to 3000 BC. A cylinder seal from c. 3100 BC or earlier shows. From the surviving images, theororists have categorized the Mesopotamian lutes, showing that they developed into a long variety and a short; the line of long lutes may have developed into pandura. The line of short lutes was further developed to the east of Mesopotamia, in Bactria and Northwest India, shown in sculpture from the 2nd century BC through the 4th or 5th centuries AD. During the medieval era, instrument development varied from country to country. Middle Eastern rebecs represented breakthroughs in terms of shape and strings, with a half a pear shape using three strings. Early versions of the violin and fiddle, by comparison, emerged in Europe through instruments such as the gittern, a four-stringed precursor to the guitar, basic lutes.
These instruments used catgut and other materials, including silk, for their strings. String instrument design refined during the Renaissance and into the Baroque period of musical history. Violins and guitars became more consistent in design and were similar to what we use in the 2000s and into the present day; the violins of the Renaissance featured intricate woodwork and stringing, while more elaborate bass instruments such as the bandora were produced alongside quill-plucked citterns, Spanish body guitars. In the 19th century, string instruments were made more available through mass production, with wood string instruments a key part of orchestras – cellos and upright basses, for example, were now standard instruments for chamber ensembles and smaller orchestras. At the same time, the 19th-century guitar became more associated with six string models, rather than traditional five string versions. Major changes to string instruments in the 20th century involved innovations in electro