Never Say Never (Kim Wilde album)
Never Say Never is the tenth studio album by Kim Wilde and was released in September 2006. It was an album after being away from the music business for a number of years. The album features several of Wildes hits that have been updated with modern dance beats, the album was co-produced by Uwe Fahrenkrog-Petersen, a former member of German band and Wildes brother and long-time collaborator, Ricky. After a comparatively long period of negotiations, Kim Wilde finally signed a new deal with the German division of EMI in late 2005. In July 2006, it was confirmed that a new album, entitled Never Say Never, would be released in Germany on 8 September 2006. The album has since been released in Germany, Italy, Netherlands, Sweden, France, Portugal, Poland, South Africa and Japan. A single, a re-working of Wildes 1988 hit You Came, preceded the album, Wilde had announced that the sound of the album would be strongly reminiscent of her earlier work. The 14-track album featured eight new songs and six new versions of hits, including You Keep Me Hangin On as a duet with Nena and Kids in America.
Cambodia appears as a track in a remix by Paul Oakenfold. The second single was Perfect Girl, released in November 2006, Perfect Girl spent 9 weeks in the German singles Top 100, reaching No.52. It was released in Belgium, Switzerland and in the Netherlands, the album was a moderate success, reaching the Top 20 in several European countries
Chequered Love is the second single by British singer Kim Wilde. The song was released in the spring of 1981 to follow Wildes successful debut Kids in America, as with that single, writing credits were given to Wildes father and brother Marty and Ricky Wilde, with the latter being given production credits. Chequered Love became another hit for Wilde, reaching the UK Singles Chart Top 5, the song appeared on Wildes self-titled debut album. 7 /12 Chequered Love Shane 7 Chequered Love Everything We Know Lyrics of this song at MetroLyrics
Kids in America
Kids in America is a song recorded by British singer Kim Wilde. It was released in the United Kingdom as her single in January 1981. It has been covered by artists from different genres. The song was recorded in 1980 after RAK Records boss Mickie Most heard Wilde singing on a track for her brother Ricky Wilde. He liked her voice and image and expressed an interest to work with her, Ricky Wilde, together with his father Marty Wilde, a pre-Beatles British rock and roll star, wrote the song Kids in America for Wilde to record. Once the demo was sent, Most remixed the track himself, the synthesizer featured at the start of the recording is the WASP synthesizer, which was owned by Ricky Wilde at the time and inspired the writing of the song. Kids in America 1994 was released in May 1994 in order to help promote Wildes compilation album The Remix Collection, although it was intended to be released in the UK, for reasons unknown these plans were cancelled at the last minute. However, the track was released in countries in several remixed forms using Wildes original vocals from 1981.
The radio version of the track was remixed by Cappella, with James Stevenson on guitar, among some of her other classic hits, Wilde recorded a new version of the song for her 2006 comeback album Never Say Never, featuring English singer Charlotte Hatherley. Nena on the track Anyplace, Anytime, a new version of her 1984 hit single, Wilde contributed English verses to the song, which was slightly remixed and released as a single in 2003. In 1995, The Muffs cover of Kids In America was featured on the soundtrack for the 1995 film Clueless and it was reissued on the Muffs 2000 album Hamburger. The song is used in Rock Band 2. A version of the song by Alexa Brevig was used in a 2010 commercial for Totinos pizza and pizza rolls, the song peaked at number 2 in the United Kingdom. The following year it reached the top 30 on the Billboard Hot 100 hit in the United States, in the summer of 1981, the track appeared on Wildes self-titled debut album. Kids in America was the song that signalled the start of Wildes career and her father and brother continued to write songs for her, although in years Wilde herself and her brother would usually be credited with the songwriting.
Kids in America Tuning In Tuning On 7 US/Canada single Kids In America Youll Never Be So Wrong Lawnmower Deth covered the song as their only 1991 single, bloodhound Gang covered the song for their first album Use Your Fingers. Len covered the song for the 2000 film Digimon, The Movie and was released as a single, No Secrets covered the song for the 2001 film Jimmy Neutron, Boy Genius and was released as a single, and it appeared on their 2002 debut album No Secrets. Dave Grohl from the American rock band Foo Fighters covered the song in 1991, lyrics of this song at MetroLyrics
MCA Records was an American-based record company owned by MCA Inc. which gave way to the larger MCA Music Entertainment Group, of which MCA Records was still part. MCAs country division, MCA Nashville, is an active imprint of Universal Music Group Nashville. MCA was forced to exit the talent agency business in order to complete the merger, as American Decca owned Universal Pictures, MCA assumed full ownership of Universal and made it into the top film studio in town, producing hit after hit. In 1966, MCA formed Uni Records and in 1967 purchased Kapp Records which was placed under Uni Records management. In 1937, the owner of Decca, E. R. Lewis, chose to split off the U. K. Decca company from the U. S. company, companies if the emerging hostilities of Nazi Germany should lead to war – correctly foreseeing World War II. Lewis sold the remainder of his U. S. Decca holdings when war did break out, MCAs U. S. -based Decca Records kept the rights to the Decca name in North and South America and parts of Asia including Japan. U. K.
Decca owned the rights to the Decca name in the rest of the world, after the war, British Decca formed a new U. S. subsidiary, London Records. During this time U. S. Decca issued records outside North America on the Brunswick, in 1967, Brunswick and Coral were replaced by the MCA label to release U. S. Decca and Kapp label material outside North America. Initial activity as MCA Records was based in London and MCA Records UK was formally launched on February 16,1968. Among the early artists on the MCA label, around 1971, were groups Wishbone Ash, Osibisa and Budgie, early MCA releases were distributed by U. K. Decca but it moved to EMI in 1974. In 1979, distribution moved to CBS, while the last releases in the 1980s were self-distributed, as the U. S. division of MCA Records was not established until 1972, the earliest U. K. MCA Records material was released in the U. S. on either Kapp or Decca, Uni label material was issued on the Uni label worldwide. In 1970, MCA reorganized its Canadian record company Compo Company Ltd.
into MCA Records, in April 1970, former Warner Bros. Records president Mike Maitland joined MCA and initially served as Deccas general manager. Maitland was unsuccessful in his attempt to consolidate Warner Bros. Records with co-owned Atlantic Records which led to his departure from Warner, the three labels maintained their identities for a short time but were retired in favor of the MCA label in 1973. Drift Away by Dobie Gray became the final Decca pop label release in the U. S in 1973. Beginning the same year the catalogs of Decca and Kapp were reissued in the U. S. on the MCA label under the supervision of veteran Decca producer Milt Gabler. The first MCA Records release in the U. S. was former Uni artist Elton Johns Crocodile Rock single in 1972, MCA label used a black with curved rainbow design until the late 1970s. This design was inspired by the U. S. Decca label of the 1960s
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 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 often take on an entrepreneurial role, with responsibility for the budget, 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 a competent arranger, composer. The producer will 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 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
Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid 1950s. The terms popular music and pop music are used interchangeably, although the former describes all music that is popular. Pop and rock were synonymous terms until the late 1960s, when they were used in opposition from each other. Although pop music is seen as just the singles charts, it is not the sum of all chart music. Pop music is eclectic, and often borrows elements from other such as urban, rock, Latin. Identifying factors include generally short to medium-length songs written in a format, as well as the common use of repeated choruses, melodic tunes. David Hatch and Stephen Millward define pop music as a body of music which is distinguishable from popular, according to Pete Seeger, pop music is professional music which draws upon both folk music and fine arts music. Although pop music is seen as just the singles charts, it is not the sum of all chart music, the music charts contain songs from a variety of sources, including classical, jazz and novelty songs.
Pop music, as a genre, is seen as existing and developing separately, pop music continuously evolves along with the terms definition. The term pop song was first recorded as being used in 1926, Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country and hillbilly music. The Oxford Dictionary of Music states that while pops earlier meaning meant concerts appealing to a wide audience. Since the late 1950s, pop has had the meaning of non-classical mus, usually in the form of songs, performed by such artists as the Beatles. Grove Music Online states that, in the early 1960s pop music competed terminologically with beat music, while in the USA its coverage overlapped with that of rock and roll. From about 1967, the term was used in opposition to the term rock music. Whereas rock aspired to authenticity and an expansion of the possibilities of music, pop was more commercial, ephemeral. It is not driven by any significant ambition except profit and commercial reward, and, in musical terms, it is essentially conservative.
It is, provided from on high rather than being made from below, pop is not a do-it-yourself music but is professionally produced and packaged. The beat and the melodies tend to be simple, with limited harmonic accompaniment, the lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions
Love Moves is the seventh studio album by Kim Wilde, released in May 1990. The album contained six tracks written by Ricki and Kim Wilde and four tracks written by Kim Wilde and it was produced by Ricki Wilde. Promotion began in the spring of 1990 with the release of the single Its Here and it includes guests Jaki Graham, who contributed backing vocals, and Deon Estus, playing bass guitar. Wilde herself believed it was a strong album, and it was very disappointing that it didnt do well. But it didnt really come as too much of a big surprise, because my career had always been very up. So it wasnt a complete shock and this was the first Wilde project to yield no Top 40 releases in the UK. Five singles in total were released across Europe, with Its Here becoming a Top 20 hit in Scandinavian countries and Cant Get Enough making a Top 20 entry, in Australia, the album peaked at #126 on the ARIA albums chart. Love Moves received mostly negative reviews from contemporary critics, colin Irwan of Smash Hits, despite referring to Wilde as one of pops more welcome survivors, accused the singer of underselling herself.
Describing Its Here as characterless and the album itself as containing featherweight production and unimaginative material, some praise was given to Time and In Hollywood
In music, a single or record single is a type of release, typically a song recording of fewer tracks than an LP record, an album or an EP record. This can be released for sale to the public in a variety of different formats, in most cases, a single is a song that is released separately from an album, although it usually appears on an album. Typically, these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular, in other cases a recording released as a single may not appear on an album. As digital downloading and audio streaming have become prevalent, it is often possible for every track on an album to be available separately. Nevertheless, the concept of a single for an album has been retained as an identification of a heavily promoted or more popular song within an album collection. Despite being referred to as a single, singles can include up to as many as three tracks on them.
The biggest digital music distributor, iTunes, accepts as many as three tracks less than ten minutes each as a single, as well as popular music player Spotify following in this trend. Any more than three tracks on a release or longer than thirty minutes in total running time is either an Extended Play or if over six tracks long. The basic specifications of the single were made in the late 19th century. Gramophone discs were manufactured with a range of speeds and in several sizes. By about 1910, the 10-inch,78 rpm shellac disc had become the most commonly used format, the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century.26 rpm. With these factors applied to the 10-inch format and performers increasingly tailored their output to fit the new medium, the breakthrough came with Bob Dylans Like a Rolling Stone. Singles have been issued in various formats, including 7-inch, 10-inch, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc.
Some artist release singles on records, a more common in musical subcultures. The most common form of the single is the 45 or 7-inch. The names are derived from its speed,45 rpm. The 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable, the first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s