1.
Album
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Album, is a collection of audio recordings issued as a single item on CD, record, audio tape, or another medium. Albums of recorded music were developed in the early 20th century, first as books of individual 78rpm records, vinyl LPs are still issued, though in the 21st century album sales have mostly focused on compact disc and MP3 formats. The audio cassette was a format used from the late 1970s through to the 1990s alongside vinyl, an album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places. Recording may take a few hours to years to complete, usually in several takes with different parts recorded separately. Recordings that are done in one take without overdubbing are termed live, the majority of studio recordings contain an abundance of editing, sound effects, voice adjustments, etc. With modern recording technology, musicians can be recorded in separate rooms or at times while listening to the other parts using headphones. Album covers and liner notes are used, and sometimes additional information is provided, such as analysis of the recording, historically, the term album was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of pieces of printed music from the early nineteenth century. Later, collections of related 78rpm records were bundled in book-like albums, the LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. It was adopted by the industry as a standard format for the album. Apart from relatively minor refinements and the important later addition of stereophonic sound capability, the term album had been carried forward from the early nineteenth century when it had been used for collections of short pieces of music. Later, collections of related 78rpm records were bundled in book-like albums, as part of a trend of shifting sales in the music industry, some commenters have declared that the early 21st century experienced the death of the album. Sometimes shorter albums are referred to as mini-albums or EPs, Albums such as Tubular Bells, Amarok, Hergest Ridge by Mike Oldfield, and Yess Close to the Edge, include fewer than four tracks. There are no rules against artists such as Pinhead Gunpowder referring to their own releases under thirty minutes as albums. These are known as box sets, material is stored on an album in sections termed tracks, normally 11 or 12 tracks. A music track is a song or instrumental recording. The term is associated with popular music where separate tracks are known as album tracks. When vinyl records were the medium for audio recordings a track could be identified visually from the grooves
2.
Butthole Surfers
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Butthole Surfers is an American rock band formed by singer Gibby Haynes and guitarist Paul Leary in San Antonio, Texas in 1981. The band has had numerous changes, but its core lineup of Haynes, Leary. Teresa Nervosa served as drummer from 1983 to 1985,1986 to 1989. The band has employed a variety of bass players, most notably Jeff Pinkus. Butthole Surfers have an appetite for psychoactive drugs, an evident influence on their sound. Although they were respected by their peers and attracted a devoted fanbase, the album contained the hit single Pepper which climbed to number one on Billboards Modern Rock Tracks chart that year. Butthole Surfers formed at Trinity University in San Antonio, Texas during the late 1970s, though it was their overall strangeness and shared taste in non-mainstream music that caused them to become friends, both appeared to be headed for very conventional careers. In 1981, Haynes and Leary published the magazine Strange V. D. which featured photos of abnormal medical ailments, after being caught with one of these pictures at work, Haynes left the accounting firm and moved to Southern California. Leary, at the one semester shy of his degree, dropped out of college. Haynes and Leary played their show at a San Antonio night club, The Bonham Exchange, in 1981. By 1982, the band were backed by the rhythm section composed of bassist Quinn Mathews. The band did not gain a following in San Antonio, during a brief concert at the Tool and Die club in San Francisco, Dead Kennedys frontman and Alternative Tentacles overseer Jello Biafra witnessed their performance and became a fervent fan. Biafra invited the group to open for Dead Kennedys and T. S. O. L, the band then returned to San Antonio to record at BOSS Studios. However, the Mathews brothers did not enter the studio with Haynes and Leary, the bass position was taken over by Bill Jolly, who would play on Butthole Surfers next two releases, and a number of drummers participated. The last of these, King Coffey, is still with the band to this day, the album cover, like the many bizarre illustrations that would accompany Surfers succeeding work, was designed by the band itself. Teeming with humor, Butthole Surfers laid the foundation for what was to come and it influenced at least one future superstar in Nirvana frontman Kurt Cobain, who listed it as one of his ten favorite albums in his Journals. Cobain later went on to list the album Pee Pee the Sailor by Butthole Surfers as one of the fifty most influential albums for Nirvanas sound, Cobain would later meet his wife, Courtney Love of Hole, at a Butthole Surfers/L7 concert in 1991. She and Coffey would drum in unison on separate, stand-up kits, with her arrival, the bands core classic lineup — Haynes, Leary, Coffey, and Nervosa — was in place
3.
Hardcore punk
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Hardcore punk is a punk rock music genre and subculture that originated in the late 1970s. It is generally faster, harder, and more aggressive than other forms of punk rock, New York punk had a harder-edged sound than its San Francisco counterpart, featuring anti-art expressions of masculine anger, energy and subversive humor. Hardcore punk generally disavows commercialism, the music industry and anything similar to the characteristics of mainstream rock. Hardcore sprouted underground scenes across the United States in the early 1980s, particularly in Washington, New York, New Jersey, and Boston—as well as in Australia, Canada and the United Kingdom. Hardcore has spawned the straight movement and its associated submovements, hardline. Hardcore was heavily involved with the rise of the independent record labels in the 1980s and it has also influenced various music genres that have experienced widespread commercial success, including alternative rock, thrash metal, emo and metalcore. While traditional hardcore has never experienced mainstream success, some of its early pioneers have garnered appreciation over time. In 2011, Rolling Stone writer David Fricke placed Greg Ginn of Black Flag 99th place in his 100 Greatest Guitarists list, although the music genre started in English-speaking western countries, notable hardcore scenes have existed in Italy, Brazil, Japan, Europe and the Middle East. The origin of the hardcore punk is uncertain. The Vancouver-based band D. O. A. may have helped to popularize the term with the title of their 1981 album, Hardcore 81. C. Hardcore historian Steven Blush said that the term hardcore is also a reference to the sense of being fed up with the existing punk, Blush also states that the term refers to an extreme, the absolute most Punk. One definition of the genre is a form of exceptionally harsh punk rock, like the Oi. subgenre of the UK, hardcore punk can be considered an internal music reaction. According to one writer, distressed by the artificiality of much post-punk, lacking the art-school grace of post-punk, hardcore punk favor low key visual aesthetic over extravagance and breaking with original punk rock song patterns. One of the important philosophies in the scene is authenticity. The pejorative term poseur is applied to those who associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values and philosophy. Joe Keithley, the vocalist of D. O. A. said in an interview, in the vein of earlier punk rock, most hardcore punk bands have followed the traditional singer/guitar/bass/drum format. The songwriting has more emphasis on rather than melody. Critic Steven Blush writes The Sex Pistols were still rocknroll. like the craziest version of Chuck Berry, Hardcore was a radical departure from that
4.
Alternative rock
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Alternative rock is a genre of rock music that emerged from the independent music underground of the 1980s and became widely popular in the 1990s and 2000s. In this instance, the word refers to the genres distinction from mainstream rock music. The terms original meaning was broader, referring to a generation of musicians unified by their debt to either the musical style or simply the independent. Ethos of punk rock, which in the late 1970s laid the groundwork for alternative music, Alternative rock is a broad umbrella term consisting of music that differs greatly in terms of its sound, its social context, and its regional roots. Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü, with the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became successful. By the end of the decade, alternative rocks mainstream prominence declined due to a number of events that caused grunge and Britpop to fade, emo attracted attention in the larger alternative rock world, and the term was applied to a variety of artists, including multi-platinum acts. Post-punk revival artists such as Modest Mouse and The Killers had commercial success in the early, before the term alternative rock came into common usage around 1990, the sort of music to which it refers was known by a variety of terms. In 1979, Terry Tolkin used the term Alternative Music to describe the groups he was writing about, in 1979 Dallas radio station KZEW had a late night new wave show entitled Rock and Roll Alternative. College rock was used in the United States to describe the music during the 1980s due to its links to the radio circuit. In the United Kingdom, dozens of small do it yourself record labels emerged as a result of the punk subculture, according to the founder of one of these labels, Cherry Red, NME and Sounds magazines published charts based on small record stores called Alternative Charts. The first national chart based on distribution called the Indie Chart was published in January 1980, at the time, the term indie was used literally to describe independently distributed records. By 1985, indie had come to mean a particular genre, or group of subgenres, at first the term referred to intentionally non–mainstream rock acts that were not influenced by heavy metal ballads, rarefied new wave and high-energy dance anthems. The use of alternative gained further exposure due to the success of Lollapalooza, for which festival founder, in the late 1990s, the definition again became more specific. Defining music as alternative is often difficult because of two conflicting applications of the word, the name alternative rock essentially serves as an umbrella term for underground music that has emerged in the wake of punk rock since the mid-1980s. Alternative bands during the 1980s generally played in clubs, recorded for indie labels. Sounds range from the gloomy soundscapes of gothic rock to the guitars of indie pop to the dirty guitars of grunge to the 1960s/1970s revivalism of Britpop. This approach to lyrics developed as a reflection of the social and economic strains in the United States and United Kingdom of the 1980s, by 1984, a majority of groups signed to independent record labels mined from a variety of rock and particularly 1960s rock influences. This represented a break from the futuristic, hyper-rational post-punk years
5.
Experimental rock
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Experimental rock is a subgenre of rock music which pushes the boundaries of common composition and performance technique or which experiments with the basic elements of the genre. From its inception, rock music was experimental, but it wasnt until the late 1960s that rock artists began creating extended, in 1967, the genre was as commercially viable as pop music, but by 1970, most of its leading players had incapacitated themselves in some form. In Germany, the krautrock subgenre merged elements of improvisation and psychedelic rock with avant-garde, later in the 1970s, significant musical crossbreeding took place in tandem with the developments of punk and new wave, DIY experimentation, and electronic music. Funk, jazz-rock, and fusion rhythms became integrated into experimental rock music. The first wave of 1980s experimental rock groups had few precedents for their sound. Later in the decade, avant-rock pursued a psychedelic aesthetic that differed from the self-consciousness, during the 1990s, a loose movement known as post-rock became the dominant form of experimental rock. As of the 2010s, the experimental rock has fallen to indiscriminate use, with virtually every modern rock band being categorized under prefixes such as post-, kraut-, psych-. Although experimentation had always existed in music, it wasnt until the late 1960s that new openings were created from the aesthetic intersecting with the social. In 1966, the boundaries between pop music and the avant-garde began to blur as rock albums were conceived and executed as distinct, self-taught rock musicians in the middle and late 1960s drew from the work of composers such as John Cage, Karlheinz Stockhausen, and Luciano Berio. In addition, The Quietus Ben Graham described duos the Silver Apples, calling attention to the very recordedness of the album. This would also be reflected in contemporary experimental rock LPs, such as the Beach Boys Pet Sounds and Smile, the Whos The Who Sell Out and Tommy. The Velvet Underground were a group in experimental rock, according to Rosenberg. Peppers inspired a new consideration for experimental rock as commercially viable music, as progressive rock developed, experimental rock acquired notoriety alongside art rock. By 1970, most of the musicians which had been at the forefront of rock had incapacitated themselves. Groups such as Can, Faust, Neu, the ideas of minimalism and composers such as Stockhausen would be particularly influential. During this era, funk, jazz-rock, and fusion rhythms became integrated into experimental rock music, some groups who were categorized as post-punk considered themselves part of an experimental rock trajectory, with This Heat as one of the prominent players. Anderson claims that the no wave scene represented New York’s last stylistically cohesive avant-rock movement, steve Redhead noted the resuscitation of New Yorks avant-rock scene, including artists such as Sonic Youth and John Zorn, in the 1980s. In the late 1980s, avant-rock pursued a frazzled, psychedelia-tinged, blissed out aesthetic that differed from the self-consciousness, the UK shoegaze scene was seen by some as a continuation of an experimental rock tradition
6.
Neo-psychedelia
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Neo-psychedelia is a diverse style of music that originated in the 1970s as an outgrowth of the British post-punk scene. Its practitioners drew from the sounds of 1960s psychedelic music. After post-punk, neo-psychedelia flourished into a widespread and international movement of artists who applied the spirit of psychedelic rock to new sounds. Neo-psychedelia may also include forays into pop, jangly guitar rock, heavily distorted free-form jams. A wave of British alternative rock in the early 1990s spawned the subgenres dream pop, neo-psychedelic acts borrowed a variety of elements from 1960s psychedelic music. Some emulated the psychedelic pop of bands like the Beatles and early Pink Floyd, others adopted Byrds-influenced guitar rock, or distorted free-form jams and sonic experimentalism of the 1960s. Some neo-psychedelia has been focused on drug use and experiences, and like acid house of the same age, projects transitory, ephemeral. Other bands have used neo-psychedelia to accompany surreal or political lyrics, in the view of author Erik Morse, The distinctions between British and American neo-psychedelia were best described as the differences between primitivism and primalism. Psychedelic rock declined towards the end of the 1960s, as bands broke up or moved into new forms of music, including heavy metal music, like the psychedelic developments of the late 1960s, punk rock and new wave in the 1970s challenged the rock music establishment. At the time, new wave was a term used interchangeably with the nascent punk rock explosion, in 1978, journalist Greg Shaw categorized a subset of new wave music as neo-psychedelia, citing Devo, to an extent. The new darling of the new press and opion-makers, yet nothing about it is remotely punk. Shaw wrote that in England, neo-psychedelia was known as punk, noting self-advertised psychedelic punk band. By 1978–79, new wave was considered independent from punk and post-punk, author Clinton Heylin marks the second half of year 1977 and the first half of year 1978 as the true starting-point for English post-punk. Some of the bands, including the Soft Boys, the Teardrop Explodes. The early 1980s Paisley Underground movement followed neo-psychedelia, originating in Los Angeles, the movement saw a number of young bands who were influenced by the psychedelia of the late 1960s and all took different elements of it. The term Paisley Underground was later expanded to others from outside the city. The late 1980s would see the birth of shoegazing, which, among other influences, reynolds referred to this movement as a rash of blurry, neo-psychedelic bands in a 1992 article in The Observer. With loud walls of sound, where individual instruments and even vocals were often indistinguishable, major shoegaze acts included Ride, Lush, Chapterhouse, and The Boo Radleys, who enjoyed considerable attention in the UK but largely failed to break through in the US
7.
Capitol Records
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Capitol Records, LLC is an American record label which operates as a division of the Capitol Music Group. The label was founded as the first West Coast-based record label in the United States in 1942 by three industry insiders named Johnny Mercer, Buddy DeSylva and Glenn Wallichs, in 1955, the label was acquired by the British music conglomerate EMI as its North American subsidiary. EMI was later acquired by Universal Music Group in 2012 and was merged with the company in 2013, making Capitol Records, Capitol Records circular headquarter building located in Los Angeles is a recognized landmark of California. Mercer first raised the idea of starting a company while golfing with Harold Arlen. By 1941, Mercer was a songwriter and a singer with multiple successful releases. Mercer next suggested the idea to Wallichs while visiting his record store, Wallichs expressed interest in the idea and the pair negotiated an agreement whereby Mercer would run the company and identify their artists, while Wallichs managed the business side. On February 2,1942, Mercer and Wallichs met with DeSylva at a Hollywood restaurant to inquire about the possibility of investment of the company from Paramount Pictures, while DeSylva declined the proposal, he handed the pair a check worth $15,000. On March 27,1942, the three men incorporated as Liberty Records, in May 1942, the application was amended to change the companys name to Capitol Records. On April 6,1942, Mercer supervised Capitols first recording session where Martha Tilton recorded the song Moon Dreams, on May 5, Bobby Sherwood and his orchestra recorded two tracks in the studio. On May 21, Freddie Slack and his orchestra recorded three tracks in the studio, one with the orchestra, one with Ella Mae Morse called Cow-Cow Boogie, on June 4,1942, Capitol opened its first office in a second-floor room south of Sunset Boulevard. On that same day, Wallichs presented the companys first free record to Los Angeles disc jockey Peter Potter, on June 5,1942, Paul Whiteman and his Orchestra recorded four songs at the studio. On June 12, the recorded five more songs in the studio. On June 11, Tex Ritter recorded Jingle Jangle Jingle and Goodbye My Little Cherokee for his first Capitol recording session, and the songs formed Capitols 110th produced record. 133 - Get On Board Little Chillun - July 31,1942 - is a Freddie Slack/Ella Mae Morse/Mellowaires recording that might be the first rock n roll record and she has sometimes been called the first rock n roll singer. A good example is her 1942 recording of song which, with strong gospel, blues, boogie. Bone Walker recorded Mean Old World a pioneering example of the use of electric guitar. The earliest recording artists included co-owner Mercer, Whiteman, Tilton, Morse, Margaret Whiting, Jo Stafford, the Pied Pipers, Johnnie Johnston, Tex Ritter, Capitols first gold single was Morses Cow Cow Boogie in 1942. Capitols first album was Capitol Presents Songs By Johnny Mercer, a three 78-rpm disc set with recordings by Mercer, Stafford and the Pied Pipers, all with Westons Orchestra
8.
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
