Ain't Nothing Like the Real Thing
"Ain't Nothing Like the Real Thing" is a 1968 single released by American R&B/soul duo Marvin Gaye and Tammi Terrell, on the Tamla label in 1968. The B-side of the single is "Little Ole Boy, Little Ole Girl" from the duo's United LP; the first release off the duo's second album: You're All I Need, the song - written and produced by regular Gaye/Terrell collaborators Ashford & Simpson - became a hit within weeks of release peaking at number 8 on the Billboard Hot 100 and number 1 on the Hot Soul Singles chart, the first of the duo's s two number 1 R&B hits. In the UK "Ain't Nothing Like the Real Thing" reached number 34. "Ain't Nothing Like the Real Thing" is ranked as the 57th biggest US hit of 1968. All lead vocals by Marvin Gaye and Tammi Terrell Background vocals by Nickolas Ashford and Valerie Simpson Produced by Ashford & Simpson Instrumentation by The Funk Brothers Donny Osmond and Marie Osmond, billed as Donny & Marie, remade "Ain't Nothing Like the Real Thing" for their November 1976 album release New Season, with the track having a concurrent single release to reach #21 on the Billboard Hot 100 in February 1977 charting Adult Contemporary at #17.
It was a chart hit in Canada, peaking at #26 on the pop chart and #11 on the AC chart. Aretha Franklin remade "Ain't Nothing Like the Real Thing" for her 1974 album Let Me in Your Life, it was issued. Franklin's version radically re-invents the upbeat Marvin Gaye/Tammi Terrell original as a deep soul ballad which Jon Landau of Rolling Stone dismissed as "misconceived". "Ain't Nothing Like the Real Thing" reached #6 on the Billboard Soul chart and #47 on the Hot 100 that fall. It won Franklin the Best Female R&B Vocal Performance Grammy for 1974 marking Franklin's eighth total and consecutive win in that category and her last such win until the Grammys for 1981. Chris Christian remade "Ain't Nothing Like the Real Thing" in medley with another Marvin Gaye/Tammi Terrell hit "You're All I Need to Get By" for his Bob Gaudio-produced 1981 album: a duet with Amy Holland, the track "Ain't Nothing Like the Real Thing/ You're All I Need to Get By" had a single release in the summer of 1982 to reach #88 on Billboard Hot 100 charting Adult Contemporary at #21.
Christian's 1986 live album release Live At Six Flags features "Ain't Nothing Like the Real Thing" in medley with "Don't Worry Baby" and "I Go to Pieces". "Ain't Nothing Like the Real Thing" was recorded by UK singer Elton John and US singer Marcella Detroit for John's 1993 album Duets. After its inclusion on Detroit's album Jewel, the song was released as a single under London Records in May 1994, as the fourth and final song from Duets, the second single from Jewel, with all b-sides performed solo by Detroit. CD single 1"Ain't Nothing Like the Real Thing" — 3:36 "Break the Chain" — 3:47 "I Feel Free" — 4:08CD single 2"Ain't Nothing Like the Real Thing" — 5:48 "Ain't Nothing Like the Real Thing" — 3:43 "I Feel Free" — 9:35 "I Feel Free" — 5:47 1969: Diana Ross and the Supremes with The Temptations - album Together 1970: The Supremes & The Four Tops - album The Magnificent 7 1972: The Jackson 5 - album Lookin' Through the Windows 1975: The Dynamic Superiors - album "Pure Pleasure." 1983: Angela Bofill - album Too Tough as a duet with Boz Scaggs 1985: Barry Manilow - album Manilow as a duet with Muffy Hendrix 1988: Hazell Dean - album Always as a duet with Darryl Pandy 1994: Gladys Knight and Vince Gill - multi-artist album Rhythm and Blues 2003: Michael McDonald - album Motown 2007: Boyz II Men - album Motown: A Journey Through Hitsville USA 2008: Günther Neefs - album My Soul as a duet with Edsilia Rombley Justin Timberlake and Beyoncé Knowles performed the song for the fifth anniversary of Condé Nast Publications' Fashion Rocks concert.
Soap stars Tammin Sursok and Michael Graziadei performed & recorded the song for their show The Young and the Restless. 2009: Melba Moore and Phil Perry - album The Gift Of Love 2010: Trijntje Oosterhuis featuring the Clayton-Hamilton Jazz Orchestra - album Sundays in New York produced by John Clayton Lyrics of this song at MetroLyrics
Psychedelic Shack is the twelfth studio album by The Temptations for the Gordy label released in 1970, which represents the Temptations' full-blown submergence into psychedelia. Written by Norman Whitfield and Barrett Strong and produced by Whitfield, Psychedelic Shack completely abandoned the "Motown Sound" formula for this LP. Psychedelic Shack was one of the last albums completed before the third incarnation of The Temptations broke apart. During the recording of the album, Paul Williams possessing a fragile condition because of sickle-cell disease, was now fighting complications from five years of heavy alcoholism. Williams would be unable to record or perform, the Temptations had to resort to hiring Richard Street, an old friend of Otis WIlliams' and lead singer of minor Motown act The Monitors, as a stand-in for Paul Williams. At the same time, Eddie Kendricks' growing animosity towards Otis Williams and Melvin Franklin, the group's general frustration over their lack of creative control and their treatment at the hands of Motown, resulted in an increased amount of infighting and set the stage for Kendricks' imminent departure in early 1971.
Like most Temptations albums from the group's "psychedelic period", producer Norman Whitfield held full creative control over Psychedelic Shack. The only freedom afforded the Temptations themselves for this album was the occasional opportunity for Kendricks to arrange the vocal harmonies; the album cover, a collage/illustration by Hermon Weems, places photographs of the Temptations in a depiction of a psychedelic shack: an establishment in urban neighborhoods where people could go to "enhance their minds" through art and mind-altering drugs. The album begins with a knock at the door, the sound of footsteps as a stranger wanders into an unfamiliar location. Finding a phonograph, the stranger drops the needle on the song that happened to be in the player—The Temptations' 1969 number-one hit "I Can't Get Next to You"; the phonograph is heard playing "I Can't Get Next to You's" intro, reaching Dennis Edwards' interruption before the album segues into the first song, "Psychedelic Shack". "Psychedelic Shack" was the only single from this album, was a complete departure from previous Temptations recordings.
Setting the tone for much of the album, "Psychedelic Shack's" vocals, guitar lines and drums shift back and forth across the stereo spectrum, all five Temptations trade lead vocal duties at irregular intervals. Keyboardist Earl Van Dyke remembered "Psychedelic Shack" as one of his favorite recording sessions. "You Make Your Own Heaven and Hell Right Here on Earth" issued as the B-side of the 1971 hit "Just My Imagination", features Edwards, Kendricks and Otis Williams informing the public that each individual person is responsible for their fate and that "the final decision is still up to you". The song would be covered in 1971 by Whitfield-groomed Motown act The Undisputed Truth, whose version was released as the follow-up to their classic hit "Smiling Faces Sometimes", another song recorded by The Temptations. Whitfield stretched out and slowed down the song with The Truth, their version was one of the group's several minor hits, making #72 and #24 on the Pop and R&B Charts, respectively.
"Hum Along and Dance" wordless, is an example of Whitfield's growing emphasis on his production and instrumentation at the expense of The Temptations' vocals, an issue that caused a significant amount of friction between the group and their producer. While this version of "Hum Along and Dance" is the original recording of the composition, the song is better known in cover versions by Rare Earth and The Jackson 5. A crossfade joins "Hum Along and Dance" and the next track on the album, "Take a Stroll Thru Your Mind". "Take a Stroll Thru Your Mind" is a popular Temptations album track done in psychedelic/blues style, is an overt eight-minute ode to marijuana usage. All five Temptations trade lead vocals across the two tracks. Side B begins with the only ballad on the album. Instead of love and relationship issues, "It's Summer" explores the positive elements that come with the onset of summer, with basso Melvin Franklin reciting the song's lyrics in spoken verse; the Temptations would record a sung version of "It's Summer", release it as a single for the Solid Rock album.
The next track, "War", is a serious anti-Vietnam protest sung by Dennis Edwards. Motown received a significant number of requests to release "War" as a single; the final two songs on the album are compositions more associated with Gladys Knight & the Pips, another Whitfield-produced act. "You Need Love Like I Do", led by Kendricks, was recorded by both The Pips and the Temptations, with the Pips' version being issued as a single. "Friendship Train", the seven-minute album closer led by Edwards, is a cover of a 1969 Pips single. Tom Jones with Heather Small would record a cover of "You Need Love Like I Do" in 1999. Reviewing in Christgau's Record Guide: Rock Albums of the Seventies, Robert Christgau wrote: "It's no accident that the best cut here begins'A
Eurythmics were a British music duo consisting of members Annie Lennox and David A. Stewart. Stewart and Lennox were both in the band The Tourists, who split up in 1980; the duo released their first album, In the Garden, in 1981 to little fanfare, but went on to achieve global success with their second album Sweet Dreams, released in 1983. The title track was a worldwide hit, topping the charts in various countries including the U. S; the duo went on to release a string of hit singles and albums before they split up in 1990. By this time Stewart was a sought-after record producer, while Lennox began a solo recording career in 1992 with her debut album Diva. After a decade apart, Eurythmics reunited to record their ninth album, released in late 1999, they reunited again in 2005 to release the single "I've Got a Life", as part of a new Eurythmics compilation album, Ultimate Collection. The duo have won an MTV Video Music Award for Best New Artist in 1984, the Grammy Award for Best Rock Performance by a Duo or Group with Vocal in 1987, the Brit Award for Outstanding Contribution to Music in 1999, in 2005 were inducted into the UK Music Hall of Fame.
Eurythmics have sold an estimated 75 million records worldwide. In 2017, the group was nominated for induction into the Rock & Roll Hall of Fame, were nominated again in 2018. Lennox and Stewart met in 1975 in a restaurant in London, they first played together in 1976 in the punk rock band The Catch. After releasing one single as The Catch in 1977, the band evolved into The Tourists. Stewart and Lennox were romantically involved; the Tourists achieved some commercial success, but the experience was an unhappy one. Personal and musical tensions existed within the group, whose main songwriter was Peet Coombes, legal wranglings happened with the band's management and record labels. Lennox and Stewart felt the fixed band line-up was an inadequate vehicle to explore their experimental creative leanings and decided their next project should be much more flexible and free from artistic compromise, they were interested in creating pop music, but wanted freedom to experiment with electronics and the avant-garde.
It was in a hotel in Wagga Wagga, while playing around with a portable mini-synthesizer that Lennox and Stewart decided to become a duo. Calling themselves Eurythmics, they decided to keep themselves as the only permanent members and songwriters, involve others in the collaboration "on the basis of mutual compatibility and availability." The duo signed to RCA Records. At this time and Stewart split as a couple. During the period that Lennox and Stewart were in The Tourists, as Eurythmics, they were managed by Kenny Smith and Sandra Turnbull of Hyper Kinetics Ltd, they recorded their first album in Cologne with Conny Plank. This resulted in the album In the Garden, released in October 1981; the album mixed psychedelic and electropop influences, featured contributions from Holger Czukay and Jaki Liebezeit, drummer Clem Burke, Robert Görl, flautist Tim Wheater. A couple of the songs were co-written by guitarist Roger Pomphrey; the album was not a commercial success. Lennox and Stewart activated their new Eurythmics mode of operation by touring the record as a duo, accompanied by backing tracks and electronics, carted around the country themselves in a horse-box.
During 1982, the duo retreated to Chalk Farm in London and used a bank loan to establish a small 8-track studio above a picture framing factory, giving them freedom to record without having to pay expensive studio fees. They began to employ much more electronics in their music, collaborating with Raynard Faulkner and Adam Williams, recording many tracks in the studio and playing live using various line-up permutations. However, the three new singles they released that year all performed badly on initial release in the UK. Although their mode of operation had given them the creative freedom they desired, commercial success was still eluding them and the responsibility of running so many of their affairs took its toll on both of them. Lennox suffered at least one nervous breakdown during this period, while Stewart was hospitalised with a collapsed lung. Eurythmics' commercial breakthrough came with their second album, Sweet Dreams, released in January 1983; the successful title track featured a dark and powerful sequenced synth bass line and a dramatic video that introduced the now orange crew-cut Lennox to audiences.
The song reached No. 2 on the UK Singles Chart, becoming one of the year's biggest sellers, topped the U. S. charts. The band's fortunes changed immensely from this moment on, Lennox became a pop icon, gracing the covers of numerous magazines including Rolling Stone, their previous single, "Love Is a Stranger", was re-released and became another chart success. The video for the song saw Lennox in many different character guises, a concept she would employ in various subsequent videos; the album's working title was Invisible Hands, inspiring the name of U. K. independent company Invisible Hands Music – known for releasing music by Hugh Cornwell, Mick Karn and Hazel O'Connor. The album featured a cover of the 1968 Sam & Dave hit "Wrap It Up", performed as a du
A soundtrack written sound track, can be recorded music accompanying and synchronized to the images of a motion picture, television program, or video game. In movie industry terminology usage, a sound track is an audio recording created or used in film production or post-production; the dialogue, sound effects, music in a film each has its own separate track, these are mixed together to make what is called the composite track, heard in the film. A dubbing track is later created when films are dubbed into another language; this is known as a M & E track containing all sound elements minus dialogue, supplied by the foreign distributor in the native language of its territory. The contraction soundtrack came into public consciousness with the advent of so-called "soundtrack albums" in the late 1940s. First conceived by movie companies as a promotional gimmick for new films, these commercially available recordings were labeled and advertised as "music from the original motion picture soundtrack", or "music from and inspired by the motion picture."
These phrases were soon shortened to just "original motion picture soundtrack." More such recordings are made from a film's music track, because they consist of the isolated music from a film, not the composite track with dialogue and sound effects. The abbreviation OST is used to describe the musical soundtrack on a recorded medium, such as CD, it stands for Original Soundtrack. Types of soundtrack recordings include: Musical film soundtracks are for the film versions of musical theatre; the soundtrack to the 1937 Walt Disney animated film Snow White and the Seven Dwarfs was the first commercially issued film soundtrack. It was released by RCA Victor Records on multiple 78 RPM discs in January 1938 as Songs from Walt Disney's Snow White and the Seven Dwarfs and has since seen numerous expansions and reissues; the first live-action musical film to have a commercially issued soundtrack album was MGM’s 1946 film biography of Show Boat composer Jerome Kern, Till the Clouds Roll By. The album was issued as a set of four 10-inch 78-rpm records.
Only eight selections from the film were included in this first edition of the album. In order to fit the songs onto the record sides the musical material needed editing and manipulation; this was before tape existed, so the record producer needed to copy segments from the playback discs used on set copy and re-copy them from one disc to another adding transitions and cross-fades until the final master was created. Needless to say, it was several generations removed from the original and the sound quality suffered for it; the playback recordings were purposely recorded "dry". This made these albums boxy. MGM Records called these "original cast albums" in the style of Decca Broadway show cast albums because the material on the discs would not lock to picture, thereby creating the largest distinction between `Original Motion Picture Soundtrack' which, in its strictest sense would contain music that would lock to picture if the home user would play one alongside the other and `Original Cast Soundtrack' which in its strictest sense would refer to studio recordings of film music by the original film cast, but, edited or rearranged for time and content and would not lock to picture.
In reality, soundtrack producers remain ambiguous about this distinction, titles in which the music on the album does lock to picture may be labeled as OCS and music from an album that does not lock to picture may be referred to as OMPS. The phrase "recorded directly from the soundtrack" was used for a while in the 1970s, 1980s and 1990s to differentiate material that would lock to picture from that which would not, but again, in part because many'film takes' consisted of several different attempts at the song and edited together to form the master, that term as well became nebulous and vague over time when, in cases where the master take used in the film could not be found in its isolated form, the aforementioned alternate masters and alternate vocal and solo performances which could be located were included in their place; as a result of all this nebulo
Natalie Jane Appleton Howlett is an English-Canadian singer-songwriter and actress, a member of the group All Saints. Appleton joined All Saints in 1996, becoming the fourth and final member of the group, but five years they split up amid group in-fighting, she went on to form a duo with her younger sister Nicole under the name Appleton. Since she has reunited to release three more albums with All Saints, in 2006, 2016 and 2018. In 1983, Appleton attended the Sylvia Young Theatre School, she had a brief cameo in an episode of Grange Hill in 1986. Appleton's father met Melanie Blatt, with whom Nicole had attended the Sylvia Young Theatre School, heard that Blatt was looking for new members for her girl group. Nicole asked. In 1996 both sisters joined Shaznay Lewis in forming All Saints. In 2000, Natalie and Nicole appeared in the poorly received film Honest. All Saints split acrimoniously in 2001 amid much rumour. In their five-year career, the group scored a total of five number one singles. Natalie and Nicole formed the duo Appleton and launched their first single "Fantasy" in September 2002 which features Natalie doing a stage dive.
It was to be Nicole doing the stage dive, but she backed out at the last minute, thus Natalie took her place. The album Everything's Eventual was released in early 2003 and coincided with the documentary Appleton on Appleton which gave an inside look into the life of the sisters. In November 2004, Appleton was a contestant on the fourth series of I'm a Celebrity... Get Me Out of Here!. While on the show the public voted for her numerous times to take part in bushtucker trials, she was not successful in completing the challenges and left after the public voted for her to do what would have been a record fifth bushtucker trial. All Saints reunited in early 2006 and released their third studio album titled Studio 1 on 13 November 2006. However, the group subsequently split again in 2009. In 2014, All Saints reformed to support the Backstreet Boys for five dates across the UK and Ireland. On 27 January 2016, it was confirmed that All Saints were scheduled to release their fourth studio album Red Flag on 8 April 2016.
The lead single from the album, "One Strike", preceded the album on 26 February 2016. Nicole and Natalie have two older sisters and Lee. Natalie was born in Ontario, to her British mother Mary and Canadian father, Kenbut. While growing up she lived in Toronto, New York City, London, she attended high school in Ellenville, New York, quit to sing at a Borscht Belt country club at age 15. In 1990, she moved back to Camden, where she met Carl Robinson, a stripper with The Dreamboys whom she met when seeing them perform on a night out in London when she was 17. On 19 May 1992, their daughter Rachel Appleton was born, she and Robinson moved to New York where they married in 1993, before Appleton returned to England after having the marriage annulled. She had relationships with television presenter Jamie Theakston and actor Jonny Lee Miller during the late 1990s. Appleton began dating Liam Howlett of the electronic band The Prodigy in 2000, after they met at the V Festival, they married on 7 June 2002 in a ceremony in France.
In addition to Appleton's daughter from her first marriage, the couple have a son, Ace Billy Howlett, born 2 March 2004. Natalie Appleton on IMDb
The Isley Brothers
The Isley Brothers are an American musical group from Cincinnati, that started as a vocal trio consisting of brothers O'Kelly Isley Jr. Rudolph Isley and Ronald Isley; the group has been cited as having enjoyed one of the "longest, most influential, most diverse careers in the pantheon of popular music". Alongside a fourth brother, the group performed gospel music until Vernon's death a few years after its formation. After moving to the New York City area in the late 1950s, the group had modest chart successes during their early years, first coming to prominence in 1959 with their fourth single, "Shout", written by the three brothers. A modest charted single, the song sold over a million copies. Afterwards the group recorded for a variety of labels, including the top 20 single, "Twist and Shout" and the Motown single, "This Old Heart of Mine" before recording and issuing the Grammy Award-winning hit, "It's Your Thing" on their own label, T-Neck Records. Influenced by gospel and doo-wop music, the group began experimenting with different musical styles incorporating elements of rock and funk music as well as pop balladry.
The inclusion of younger brothers Ernie Isley and Marvin Isley, Rudolph's brother-in-law Chris Jasper in 1973 turned the original vocal trio into a self-contained musical band. For the next full decade, they recorded top-selling albums including The Heat Is On and Between the Sheets; the six-member lineup of the band splintered in 1983, with Ernie and Chris Jasper forming the short-lived spinoff group Isley-Jasper-Isley. Eldest member O'Kelly died in 1986 and Rudolph and Ronald released a pair of albums as a duo before Rudolph retired for life in the Christian ministry in 1989. Ronald re-formed the group two years in 1991 with Ernie and Marvin; the remaining duo of Ronald and Ernie accomplished mainstream success with the albums Mission to Please Eternal and Body Kiss, with Eternal spawning the top twenty hit, "Contagious". As of 2019, the Isley Brothers continue to perform under the lineup of Ernie; the Isley Brothers have had four Top 10 singles on the United States Billboard chart. Sixteen of their albums charted in the Top 40.
Thirteen of those albums have been either certified gold, platinum or multi-platinum by the RIAA. The brothers have been honored by several musical institutions including being inducted to the Rock and Roll Hall of Fame in 1992. Five years they were inducted to Hollywood's Rockwalk and in 2003, were inducted to the Vocal Group Hall of Fame; the Isley Brothers came from Cincinnati and were raised at the city's Lincoln Heights suburb settling at the satellite town of Blue Ash when they were teenagers. Their father, O'Kelly Isley, Sr. a former United States Navy sailor and vaudeville performer from Durham, North Carolina, Georgia-reared mother Sallye, guided the elder four Isley boys in their singing while at church. Patterning themselves after groups such as Billy Ward and his Dominoes and the Dixie Hummingbirds, the brothers began performing together in 1954, they landed a spot on Ted Mack's Amateur Hour where they won the competition, winning a watch. With Vernon on lead vocals, the quartet soon began touring all over the eastern US regions performing in a variety of churches.
When Vernon was thirteen, he was killed after a car struck him as he was riding his bike in his neighborhood. Devastated, the remaining trio disbanded. Convinced to regroup, the brothers decided to record popular music and left Cincinnati for New York in 1957 with their parents' blessings. With Ronnie assuming the lead vocal position in the group, the group got into contact with Richard Barrett, who soon had the group in contact with a variety of New York record producers, they had their first records produced by George Goldner, who recorded the group's first songs, including "Angels Cried" and "The Cow Jumped Over the Moon" for the Teenage and Mark X imprints. The songs were only regional hits, however. By 1959, the group landed a recording deal with RCA Records; that year, mixing their brand of gospel vocalizing and doo-wop harmonies, the group recorded their first composition together, "Shout", a song devised from a Washington, D. C. club performance in which the brothers had covered Jackie Wilson's "Lonely Teardrops".
The original version of the song peaked at 47 on the Billboard Hot 100 and never reached the R&B chart. It sold over one million copies, was awarded a gold disc by the RIAA. Follow-up recordings on RCA failed to chart and the brothers left the label in 1961 signing with Scepter Records. In 1962, the brothers scored their first top 40 hit with the Bert Berns song "Twist and Shout", which reached number 17 on the Hot 100 and number 2 R&B, staying on the charts for 19 weeks; the song had been produced by Berns for the brothers to teach then-struggling producer Phil Spector how to produce a hit. Moving their entire operations to New Jersey, the brothers continued to struggle with recordings forming T-Neck Records in 1964. During that same time period, Jimi Hendrix began playing lead guitar for the brothers' band. Bringing Hendrix with them in the studio, they recorded the song "Testify". On, Hendrix contributed guitar to another Isleys single, "Move On Over and Let Me Dance", recorded for T-Neck through distribution with Atlantic Records.
After neither song charted and Hendrix left them for good in 1965, the brothers signed with Motown Records. Earlier the following year, the group had their second top 40 hit single with "This Old Heart of Mine (I
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