Second Solution / Prisoner of Society
"Second Solution" / "Prisoner of Society" is the third EP by Australian rock band The Living End. It was the best selling Australian single of the 1990s, spent a record-breaking 69 weeks on the ARIA Top 100, it provided a breakthrough for the band, bringing them to the attention of the Australian Rock scene. Boosted by the success of this EP, they subsequently went into the studio to record their debut full-length album, The Living End on which they re-recorded both of the title songs; the music clip for "Prisoner of Society" was released first and features the band playing the song in a schoolroom intercut with scenes of young people in the same classroom who are rebelliously presenting "essays" to the class. Following the release of the video for "Prisoner of Society", the band filmed and released the followup with "Second Solution." This video uses live clips from old performances where they play the song and shows all three members play their respective instruments in tune to the song at the same time.
All songs by Chris Cheney unless otherwise noted. "Second Solution" - 3:09 "Prisoner of Society" - 3:54 "Prisoner on the Inside" - 2:28 "Misspent Youth" - 2:52 "Strange" - 4:06 Chris Cheney - guitars and vocals Scott Owen - upright bass and backing vocals Travis Demsey - Drums and backing vocals Prisoner of Society music video Lyrics of this song at MetroLyrics
Shift (The Living End album)
Shift is the seventh album by the Australian rock band The Living End. It was recorded at Red Door Sounds in Melbourne, Australia. Songs and lyrics by Chris Cheney, music by The Living End except where noted
Wunderbar (The Living End album)
Wunderbar is the eighth album by the Australian rock band The Living End, released on 28 September 2018. It is the band's first album recorded in Europe. In September 2017, the band decided to write and record a new album to push themselves out of their comfort zone, they booked pre-production and recording sessions for January 2018 in Berlin during winter, giving themselves less than four months to write an entire album of new material. Frontman Chris Cheney said: "We had limited time to write, but it turned into a good thing because it meant full steam ahead."Many of the songs on Wunderbar tackle political issues—"Not Like the Other Boys" concerns social politics and "Death of the American Dream" takes on discrimination
The ARIA Charts are the main Australian music sales charts, issued weekly by the Australian Recording Industry Association. The charts are a record of the highest selling albums in various genres in Australia. ARIA became the official Australian music chart in June 1988, succeeding the Kent Music Report, Australia's national charts since 1974; the Go-Set charts were Australia's first national singles and albums charts published from 5 October 1966 until 24 August 1974. Succeeding Go-Set, the Kent Music Report began issuing the national top 100 charts in Australia from May 1974; the compiler, David Kent published Australia's national charts from 1940–1974 in a retrospective fashion using state based data. In mid 1983, the Australian Recording Industry Association commenced licensing the Kent Music Report chart; the first printed national top 50 chart available in record stores, branded the Countdown chart, was dated the week ending 10 July 1983. ARIA began compiling its own charts in-house from the chart survey dated 13 June 1988, corresponding with the printed top 50 chart dated week ending 26 June 1988.
Various artists compilation albums were included in the albums chart, as they had been on the Kent Report chart, until 2 July 1989, when a separate Compilations chart was created. The ARIA Report, detailing the top 100 singles and albums charts, was first available via subscription in January 1990; the printed top 50 chart ceased publication in June 1998, but resumed publication in the year. The printed top 50 chart again ceased publication at the end of 2000; the ARIA charts are based on data collected from digital retailers in Australia. Data of physical sales come from retailers such as Sanity and JB Hi-Fi, while data of digital sales come from online retailers such as iTunes. Since 17 February 1997, all physical sales data contributing towards the chart has been recorded electronically at point of sale. In March 1991, "Do the Bartman" by The Simpsons was the first single to reach #1 in Australia, not available on 7 inch vinyl, but cassingle only. Starting from 8 October 2006, due to low physical single sales at the time, the ARIA singles chart included online data as well as physical sales.
In 2006, it was announced that the Brazin retailing group, comprising major retailers HMV, Sanity and Virgin music/DVD stores would no longer contribute sales data to the ARIA charts. However, after a five-month absence, Brazin re-commenced contributing sales figures to the ARIA Charts on 26 November 2006; the ARIA website publishes the top 50 singles and albums charts, top 40 digital tracks chart, top 20 dance singles chart. The ARIA Report is available via paid e-mail subscription each week; these reports are uploaded to the Pandora Archive periodically. On 5 February 2006, the ARIA Chart Show was a radio program launched on the Nova network and broadcast throughout Australia, playing the official ARIA top 50 singles; the live music program was hosted by Jabba each Sunday afternoon at 3:00pm. From 1 June 2013 to 3 September 2016, the Take 40 Australia radio program broadcast the official ARIA top 40 singles on Saturday afternoons from 2:00 pm to 6:00 pm, on each state's Hit Network-owned radio station.
The show was aired before the top 50 chart, dated for the following Monday, is published on the ARIA website at 6:00 pm. The charts were published online at 6:00 pm each Sunday. ARIA Top 100 Singles Chart ARIA Top 100 Albums Chart ARIA Top 100 Physical Albums Chart ARIA Top 50 Digital Tracks Chart ARIA Top 50 Digital Albums Chart ARIA Top 50 Streaming Tracks Chart ARIA Top 50 Club Tracks Chart ARIA Top 50 Catalogue Albums Chart ARIA Top 40 Urban Singles Chart ARIA Top 40 Urban Albums Chart ARIA Top 40 Country Albums Chart ARIA Top 40 Music DVDs Chart ARIA Top 25 Dance Singles Chart ARIA Top 25 Dance Albums Chart ARIA Top 20 Australian Artist Singles Chart ARIA Top 20 Australian Artist Albums Chart ARIA Top 20 Compilation Albums Chart ARIA Top 20 Jazz & Blues Albums Chart ARIA Top 20 Classical/Crossover Albums Chart ARIA Top 10 Core Classical Albums Chart ARIA Top 20 Hitseekers Singles Chart ARIA Top 20 Hitseekers Albums Chart Yearly Top 100 End of Year charts profiling the year in music End of Decade Top 100 charts profiling the decade in music Pre-2000: 2000 to present: 2006 to present: Pre-2000: 2000 to present: 2016 to present: Music of Australia List of Australian chart achievements and milestones Official website Top 50 chart archives from June 1988 at australian-charts.com Top 100 chart archives from January 2001 at Pandora Archive
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
Rarities (The Living End album)
Rarities is a compilation album by Australian rock band The Living End. The album features demos and acoustic versions of songs that were unreleased, was first available on a range of online music stores for 5 days from 15 to 19 November 2008, at which point it was taken off the stores for no confirmed reason; the album was released online, until its physical release as part of a 2× CD deluxe edition of the band's fifth studio album, White Noise, released on 27 February 2009. "White Noise" "Moment in the Sun" "Tragedy" "The Ship Is Sinking" "Down to the Wire" "Live to Love" "Faith" "New Trend" "I Don't Wanna Wait" "Enemy of Time" "Who's on Your Side"
Wake Up (The Living End song)
"Wake Up" is the second single from The Living End's fourth album, State of Emergency. It was released on 18 February 2006, in Australia; the song was both popular on New Zealand radio stations. It peaked at number five in the Australian ARIA Singles Chart; the song was used on the 40 Hour Famine DVD for 2006. Wake Up was featured on the Triple J Hottest 100 for 2006, reaching #53; this kept safe The Living End's record of featuring in every Hottest 100 countdown since 1997. However, there was no song by The Living End in the Hottest 100 for 2007, although their cover of the Cold Chisel song "Rising Sun" was in the list of songs that listeners could vote for. "Wake Up" was released in the UK as a downloadable single on 30 July 2007. "Wake Up" - 4:31 "Girls Talk" - 3:08 "Don't Turn Away" - 4:04 Lyrics of this song at MetroLyrics