I Know Where It's At
"I Know Where It's At" is a song by British-Canadian girl group All Saints, released as the debut single from their self-titled album All Saints. Released in August 1997, it first debuted on 9 August 1997 on the National Lottery Live, had its first performance on Top of the Pops on 2 September 1997; the song became the group's first Top 10 hit, peaking at number four. A total of 158,769 copies have been sold; the single was released in the US after All Saints scored their first number one hit with "Never Ever". The track was released in Australia to coincide with the UK release, where it peaked at No. 12. "I Know Where It's At" was written by Shaznay Lewis and Karl Gordon, produced by Gordon. Walter Becker and Donald Fagen are credited as writers because the song samples elements from Steely Dan's "The Fez"; the official music video for "I Know Where It's At" was directed by Alex Hemming. It was the first video All Saints released, it was to show the girls in an urban setting as the more streetwise variants of girl groups.
The video was shot with little colour, with the girls entirely in black and white. UK CD 1"I Know Where It's At" – 4:03 "I Know Where It's At" – 4:00 "I Know Where It's At" – 4:46 "I Know Where It's At" – 5:02UK CD 2"I Know Where It's At" – 5:01 "I Know Where It's At" – 6:30 "I Know Where It's At" – 7:40 "Alone" – 3:31UK Cassette"I Know Where It's At" – 4:03 "I Know Where It's At" – 5:02Australian CD"I Know Where It's At" – 5:04 "I Know Where It's At" – 4:01 "I Know Where It's At" – 6:30 "Never Ever" – 6:19 "Alone" – 3:35 Official site
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
Studio 1 (album)
Studio 1 is the third studio album by English-Canadian girl group All Saints, released on 10 November 2006, by Parlophone. It was released following a five-year hiatus; the first single released from the album was "Rock Steady", released on 6 November 2006 and peaked at No. 3 on the UK Singles Chart. A second single, "Chick Fit" was a download-only release; the album debuted at No. 40 on the UK Albums Chart. It was certified Gold in the UK. In February 2001, All Saints announced that they were to take a break so that they "could clear the air between themselves". Melanie Blatt said that year that it was uncertain if they would reform, citing their difficulties with the financial and business aspects of the group. Shaznay Lewis explained that the catalyst for the break-up was a disagreement over who would wear a certain jacket for a photoshoot: "I would never in a million years have put money on the group ending over a jacket incident, but when that incident happened, it fired up so strong, it had to be over.
And the way I was the state we'd got into there was no way she was getting that stupid jacket." In November 2001, London Records released a greatest hits compilation entitled All Hits. The album peaked at number eighteen on the UK Albums Chart and was certified gold, selling 100,000 copies. On 24 January 2006, it was announced that the band had reformed and signed a record deal with Parlophone. Lewis answered why they were back together, saying: "Because this time round we just want to have a good time and a laugh". While Nicole Appleton stated: "We weren't finished, I think this album is the best we've done." Blatt remarked: "I didn't know. Would it be the same? Would it be worse? But it was better, because we've all grown up."Blatt discussed the reunion in an interview with i-D magazine in 2012: "I don't think it was done for the right reasons... I know. We got signed before we had made music again, it wasn't like we felt we had something to give back to the world... we were given an opportunity and took it, without thinking about it too hard".
She said she never felt comfortable with the success the band had and that "it was not the plan at the beginning. She stated in 2016 with the same publication: "Because you know what, we got signed having not made one piece of music, they signed the idea of us getting back together. I felt fraudulent from that moment on and it didn't feel like a real thing". Studio 1 bears a blend of pop, hip hop, R&B and a bit of rock; the first track and lead single "Rock Steady" was the first-ever song Shaznay Lewis wrote with Greg Kurstin and the first demo the band sang together in four years. The second track and second single "Chick Fit" was described as "one of those blast it, getting ready, dance around tracks" and one of Nicole's favourites on the album. "On and On" was written when member Shaznay was pregnant and got the anticipation of going through the whole thing. For Melanie Blatt, "It's the most old All Saints sounding one from the William Orbit days." "Scar" opens with a horn section and goes off into a bit of a ska direction.
It was called "Scar" purely because of the ska influence in the song but someone wrote it scar and it stayed. According to Nicole Appleton, "Not Eazy" was inspired by bands like Madness and No Doubt who have a "trumpet reggae sound." It is about things women can relate to. "Hell No" was penned by Karl "K-Gee" Gordon. "Tell me who's that bitch I see climbing out your window", they sing. According to Lewis, "It's a made-up song about trusting a man. I've checked a few text messages in the past!"Lewis said of "One Me and U": "That's one of my favourites. I love. It's quite Sixties". Opening with a hard piano riff and propelled along by some heavy percussion, "Headlock" is a song about unreliable men. Lewis commented: "I've not just drawn from myself, but from someone in the band and friends." "Too Nasty" shows indignation on a wayward reggae. It was called "Tuna Steak" because Blatt's daughter Lily came into the studio and when they sang "too nasty", she thought they were singing "tuna steak"; the lyrics speak of a former boyfriend with a "dirty" habit that the singer witnessed and cannot forget.
Blatt, who co-wrote the song, told The Sun: "In my head this song was about bestiality. So it's someone getting it on with a horse, chicken." Lewis revealed that Greg Wells is into harmonies and weird, quirky sounds, which she was into, so they worked well together on the tenth track "In It to Win It". "Flashback" was written by Amanda Ghost. According to herself, she "has a tendency to say things and think,'Oh, I wish I'd never said that.' So, she was trying to put that down." The album closes with "Fundamental", according to Lewis, "is a love song for all four of us and our kids." Studio 1 received mixed reviews from music critics. Caroline Sullivan from The Guardian gave the album 4 out of 5 stars, writing: "Studio 1 offers a fresh take on their girl-group style. Always R&B-inclined, their harmonies are now judiciously seasoned with reggae and ska." John Murphy from musicOMH gave the album 3 out of 5 stars, commenting: "Studio 1, despite not bearing much resemblance to the All Saints of yore, will be snapped up eagerly by those who remember them fondly in their heyday.
Yet it's unclear who else this will appeal to – while it's a pleasant enough listen for the most part, there aren't enough strong songs for it to grab the attention." Matthew Chisling from AllMusic wrote that "Unfortunately, while all the music is appe
ZTT Records is a British record label founded in 1983 by record producer Trevor Horn, Horn's wife, businesswoman Jill Sinclair, NME journalist Paul Morley. The label's name was printed as "Zang Tumb Tuum" and "Zang Tuum Tumb" on various releases. In December 2017, Universal Music Group acquired ZTT Records and Stiff Records. ZTT is an initialism of Filippo Tommaso Marinetti's sound poem Zang Tumb Tumb, which described "zang tumb tumb" as the sound of a machine gun; the majority of the creative team at ZTT had first assembled when Horn produced the acclaimed album The Lexicon of Love for British pop band ABC. A precursor to ZTT was the short-lived Perfect Recordings label, spun off from the newly founded Perfect Songs publishing subsidiary of Trevor Horn and Jill Sinclair's company. Perfect Recordings only released The Buggles' Adventures in Modern Recording and the singles derived from it. In 1983 Horn and Morley founded ZTT Records, which soon boomed into success. Sinclair became ZTT's managing director.
In the same year Sinclair and Horn acquired Basing Street Studios from Island Records in exchange for distributing the ZTT label. ZTT's first major signing was Frankie Goes to Hollywood, whose hits "Relax" and "Two Tribes" were among the most influential and best-selling singles of the decade, it was the label's second single, that became the label's first number one in January 1984. Relax stayed in the Top 75 for a full year and ZTT was well and established. During the 1980s Grace Jones and Art of Noise were ZTT acts to chart. In the early days, the label helped to shape the structure and format of pop music and turned every aspect of the business of pop into entertainment. In 1984, the Horn-Sinclair family businesses were reorganized as SPZ Group, which consisted of Sarm West Studios, Perfect Songs and ZTT records. From the beginning, the majority of ZTT releases were published by Perfect Songs and recorded at Sarm West Studios; the latter part of the decade was eclipsed by the bitter legal battle between ZTT and Holly Johnson who fought his way out of the strict, long recording agreement.
In disagreement, a few other ZTT artists, such as Art of Noise and Propaganda, left the label. Propaganda's case was settled out of court. In the late 1980s, ZTT refocused on the emerging dance music scene. Manchester group 808 State would reach the top 10 with its anthemic song "Pacific State" and three other singles and one album during the early'90s. Seal was the next major ZTT act to emerge in the 1990s, the label scored hit singles and albums with MC Tunes and Shades of Rhythm. ZTT Records pioneered music cover art as forms of high art in their own right. Paul Morley commissioned videos from then-unknown directors who would go on to become acclaimed in their field, such as Anton Corbijn, Godley & Creme, Zbigniew Rybczyński and Andy Morahan. Morley commissioned early ZTT sleeve design and photography to pioneers of the medium such as Accident, Malcolm Garrett/Assorted Images, AJ Barratt, Anton Corbijn, Mark Farrow, Jean-Paul Goude, Johnson Panas, The London Design Partnership, Mat Maitland, Me Company, John Stoddard, Stylorouge, T&CP Associates and XL.
The labels work in the visual field was profiled by Tony Enoch in Design Week, who positioned ZTT as "from a time when a record label meant something - a happening, a sense of belonging. Labels defined people's youth. Think Apple, Beggar's Banquet, ZTT and Stiff: small, independent British labels appearing to be able to do anything they wanted, reinventing the rules."In 2008, Ian Peel curated a first exhibition of ZTT sleeve art for galleries in London and Tokyo, in 2013 he curated the visual archives of ZTT and Sarm West Studios before the studios were demolished. In 2009, Peel compiled a DVD of the labels most acclaimed videos entitled The Television is Watching You which received a British Board of Film Classification 15 Certificate. † as one-time UK distributor for Tommy Boy Records As part of ZTT internal cataloguing of releases they maintained two series. The Action Series was issued to singles and albums by a majority of the labels artists; however to confuse matters the series contains a booklet and a concert.
The Action series paused in 1988 and was restarted by label manager Ian Peel in 2012. AS1: Frankie Goes to Hollywood - Relax AS2: Propaganda - Dr. Mabuse AS3: Frankie Goes to Hollywood - Two Tribes/War AS4: Frankie Goes to Hollywood - Welcome to the Pleasuredome AS5: Frankie Goes to Hollywood - The Power of Love AS6: Frankie Goes to Hollywood - And Suddenly There Came A Bang! AS7: Frankie Goes to Hollywood - Welcome to the Pleasuredome AS8: Propaganda - Duel AS9: Roy Orbison - Wild Hearts AS10: The Value Of Entertainment AS11: Art of Noise - Who's Afraid of the Art of Noise AS12: Propaganda - p:Machinery AS13: Propaganda - A Secret Wish AS14: Various - The Shape Of The Universe AS15: Glenn Gregory & Claudia Brucken - When Your Heart Runs Out Of Time AS16: Grace Jones - Slave To The Rhythm AS17: Andrew Poppy - The Beating Of Wings AS18: Various - Zang Tuum Tumb Sampled AS19: Anne Pigalle - Everything Could Be So Perfect... AS20: Propaganda - Wishful Thinking AS21: Propaganda - p:Machinery AS22: Frankie Goes to Hollywood - Rage Hard AS23: Frankie Goes to Hollywood - Liverpool AS24: Das Psycho Rangers - Starve God There's Choice AS25: Frankie Goes to Hollywood - Warriors of the Wasteland AS26: Frankie Goes to Hollywood - Watching the Wildlife AS27: Andrew Poppy - Alphabed AS28: Act - Snobbery and Decay List of record labels List of elec
The Remix Album (All Saints album)
The Remix Album is an album by the British girl group All Saints. It was released in 1998, following the success of their eponymous debut album and features remixes of the songs from it, most of which had not been released before; the tracks were mixed together, by DJ Pete Tong, so that they are played continuously without any gaps. In early pressings of the album, Timbaland's name was misprinted as Timberland. Official site
Silver Shadow (song)
"Silver Shadow" is a song by American R&B group Atlantic Starr, released as the third single from their successful 1985 album As the Band Turns. Lead vocals were performed by Barbara Weathers; the song peaked at #13 on the USA Billboard R&B charts, at #49 on the dance charts. In the UK it was released as the first single from the album and it charted at #41. With the success of "Secret Lovers", the song was re-released in the UK in 1986. "Silver Shadow" was written and produced by Atlantic Starr members David and Wayne Lewis with other member Jonathan Lewis credited as an associate producer. The song was written for the group's sixth studio album, As the Band Turns, their first album since four of the group's original members left and singer Barbara Weathers joined."Silver Shadow" is an uptempo song featuring a soft lead vocal from Weathers. The lyrics positively detail fate and dreams. Alex Henderson from AllMusic picked the song as a highlight on As the Band Turns, calling it "excellent" and "dreamy".
Andrew Hamilton of the same publication characterized it as a "surrealistic up-tempo number with an eerie softness and Energizer bunny intensity". Tim Roets of the Milwaukee Journal Sentinel viewed Weathers' as "the centrepiece", deeming her delivery "icy but soulful" and "a breathtaking example of pop singing". In his review of the album, Carl Matthews of the Baltimore Afro-American said "Silver Shadow" along with "Thank You" comprised the group's "more familiar standard pop sound". Ralph Kiesel, writer for The Blade highlighted it as a "percolating dance hit". In a less enthusiastic review, Mark Moses of The Boston Phoenix wrote: "'Silver Shadow' has a pleasing soft vocal from Barbara Weathers, a peppy melody, little else."Rapper DMX's career was influenced by "Silver Shadow". I stopped right in my tracks. If you hear the words to that song, you'd know. I'd been doin' the beatbox before that, but that's when I started writin' seriously." David Lewis – writer, producer Wayne Lewis – writer, producer Jonathan Lewis – associate producerCredits adapted from the single's liner notes.
In 1992, English producer Ron Tom met Melanie Blatt, an aspiring singer who had no singing experience at the time. The pair went on to record 15 tracks over the space of a year. Tom was running a studio and management company in All Saints Road, Notting Hill, having success managing singer Gabrielle and collaborating with Terence Trent D'Arby, Level 42 and Curiosity Killed the Cat, he met another aspiring singer. Tom had worked with another singer, Simone Rainford, for several years. Tom, along with Blatt and Rainford decided that the three singers should form All Saints 184.108.40.206. Speaking to the Sunday Mirror, Tom recalled: "I'd been working with Simone when she was 14 and she has a million-dollar voice. Melanie had no singing experience but she had a beautiful voice. Shaznay has a great voice and was ambitious." As the manager of All Saints 220.127.116.11, Tom began "ploughing money into them because was convinced they would make it." The group were signed to ZTT Records that year, a label run by producer Trevor Horn and his wife Gill Sinclair.
Tom invested £50,000 arranging gigs, studio staff and promotion for All Saints 18.104.22.168. He produced "Silver Shadow" as the group's debut single, with additional production by Toby Baker. Tom paid £ 200 a day for his assistant Andy Gallimore's engineering of the song; the group recorded "Silver Shadow" at ZTT's Sarm West Studios and Tom's Metamorphosis Studios in Notting Hill. Rainford sang lead vocals; the group promoted the single by playing at radio roadshows and nightclubs across the UK, including the Hippodrome. The single's cover art was designed by M @ Maitland. "Silver Shadow" was released by ZTT on August 1994, bowing at number 92 on the UK Singles Chart. In a review of the single, The Guardian derided the group as having an out-dated swingbeat style and the song as having an "idiotic number of mixes, encompassing every dance style bar Morris", further quipping: "Eternal may rest easy in their Timberlands." Ron Tom – producer Paul Wright – engineer Andy Gallimore – engineer assistant Toby Baker – additional production and programming Tim France – photography M@ Maitland – designCredits adapted from the single's liner notes.
Lyrics of this song at MetroLyrics
Never Ever (All Saints song)
"Never Ever" is a song by British-Canadian girl group All Saints. Written by All Saints member Shaznay Lewis along with co-writers Robert Jazayeri and Sean Mather, using the tune from the famous British folk song “Amazing Grace”, produced by Cameron McVey and Magnus Fiennes, it was released on 10 November 1997 as the second single from their debut album, All Saints; the song appeared on their compilations All Hits, Pure Shores: The Very Best of All Saints and their remix compilation The Remix Album. Lyrically, the song talks about the girls feeling their first expressions after a sudden break-up, where the girls query what they did wrong in the relationship. "Never Ever" is All Saints' highest charting single to date, peaking at the top of the charts in countries including Australia, New Zealand and the United Kingdom, while it peaked in the top 10 in countries including Ireland, Canada, the Netherlands, Switzerland, Norway and the United States. As of March 2013, it is the second best selling single by a girl group of all time in the United Kingdom, only behind "Wannabe" by the Spice Girls.
Two music videos were shot for the single: the European and Australian version, an American version, due to the mass success in those countries. The North American featured the group in a church, while the European/Australian version featured the group near a swimming pool and in their homes. At the 1998 Brit Awards, "Never Ever" won British Video of the Year. After the success of their debut single "I Know Where It's At", the group decided to record and produce their debut full-length studio album. "Never Ever" was released as the second single from their first album All Saints. The song was written by All Saints member Shaznay Lewis along with co-writers Robert Jazayeri and S. Mather, was produced by Cameron McVey and Magnus Fiennes. Lewis wrote the song after splitting up with a boyfriend, but the music conveyed the impression that all would be well. Soon after they signed their first major label deal with London Records, she discovered that the rest of the group - Melanie Blatt and the Canadian sisters Nicole and Natalie Appleton - had presented the label head with a tape of vocal recordings they had made without her.
It was their version of Lewis's own song "Never Ever". "He asked who had written it, so they were forced to come back and get me. Looking back on it, pretty low. I think that's why the whole time I knew that if I didn't write I'd be out on my ear", Lewis commented. All Saints flew to the United States, where the song was recorded and produced by Mather and Jazayeri. Due to control issues, London Records brought in Cameron McVey to do additional production on the track because of time/distance constraints and Cameron's relationship with Lewis. Lewis was in tears over the success of "Never Ever", since it was written about a personal broken relationship, said, "I never believed that so much good could come out of such a bad situation." All Saints recorded the vocals in Washington, D. C. except for the intro, recorded at Battery Studios in London and was kept from the original demo. This was because the mood could not be replicated and everyone agreed to keep the demo vocals. However, the song's producing and writing caused controversy.
Robert Jazayeri, who wrote the song, issued a writ against All Saints, they were granted 40% of the publishing rights to the track. After he was not satisfied, Jazayeri filed a lawsuit towards the group's record label London Records and All Saints' management, settled amicably by the parties; the song is set in common time at a tempo of 67 beats per minute and uses the melody from the British folk song “Amazing Grace” as its main hook. The lyrics are about the girls' first expressions after a sad break-up, the girls ask what they did wrong in the relationship. Stephen Thomas Erlewine from AllMusic described the musical content as an "extraordinary gospel-tinged" song. Nick Butler from Sputnikmusic described the musical content as a "power ballad". "Never Ever" received positive reviews from music critics. Nick Butler from Sputnikmusic stated, "'Never Ever' is a fantastic song. Stephen Thomas Erlewine from AllMusic named the song as a highlight on its album, said it "lead the way" for All Saints' career.
He reviewed the All Hits record and said the track was a "basic hit", but called it a standout. Billboard named the song #47 on their list of 100 Greatest Girl Group Songs of All Time. "Never Ever" debuted at number three on the UK Singles Chart, before rising to number one for a sole week. The song remains the group's longest single on those charts and stayed in the top 10 for 15 weeks, but charted for 26 weeks, it has sold over 1.36 million copies in the UK as of September 2017. It is the second best selling single by a girl group of all time in the UK, only behind "Wannabe" by the Spice Girls; the song debuted at number 30 on the Australian Singles Chart and rose to number one, staying there for seven consecutive weeks and stayed in the charts for 22 weeks. It was successful in the charts and was certified 2× Platinum by Australian Recording Industry Association, with sales of 140,000; the song was successful in New Zealand as well, debuting at number one and staying there for five consecutive weeks.
It was the group's only number one single in that country. It stayed in the charts for 13 weeks in total; the song was successful in European markets. It debuted at number 10 in the Swedish Singles Chart, peaked at three for one week and stayed in the charts for 20 weeks, it was certifie