Blue Lights on the Runway
Blue Lights On The Runway is the fourth studio album by Irish band Bell X1. It was released in Ireland on 20 February 2009, on March 3, 2009, in North America, it is a Choice Music Prize nominated album for Best Irish album in 2009. The first single from the album was "The Great Defector"; the album's title comes from a line of the lyrics of The Great Defector: "Blue lights on the runway, I love the colour of it all." It has been certified Platinum in Ireland with record sales exceeding 15,000. The album has been met with much acclaim, has a Metacritic score of 73/100. Allmusic gave the album 4/5, whilst Planet Sound gave it 8/10. "The Ribs of a Broken Umbrella" – 5:27 "How Your Heart Is Wired" – 6:14 "The Great Defector" – 4:40 "Blow Ins" – 4:36 "Amelia" – 6:58 "A Better Band" – 6:35 "Breastfed" – 4:11 "Light Catches Your Face" – 5:44 "One Stringed Harp" – 5:12 "The Curtains Are Twitchin'" – 5:08
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; 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 short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" 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
Rocky Took a Lover
"Rocky Took a Lover" is a single by the Irish pop rock quintet, Bell X1, the third to be taken from the band's third album Flock. It was released on 28 August 2006, it entered the Irish Singles Chart on 31 August 2006, spending four weeks there and peaking at #18. The single included a cover of the Depeche Mode song "Enjoy the Silence". Many Irish radio stations, including Today FM, had been playing the track since before the release of the previous single "Flame" and the song was used extensively to promote the band's third album. In early 2008, the song featured on a Dublin Bus television advertising campaign. A special website—www.rockytookalover.com—was created by the band for the release of the song, featuring blogs written by the characters of Rocky and Adrianna. The BBC described it and previous single "Flame" as "two of the finest pieces of music written on this island"; the band performed the song when they appeared on the Late Show with David Letterman on 17 March 2008. CDS 1704233"Rocky Took a Lover" - "Butterflies" - "Enjoy the Silence" - "Rocky Took a Lover" - 7" 1704234"Rocky Took a Lover" - "Enjoy the Silence" - CDS CIDXDJ937"Rocky Took a Lover" - The Irish Independent has said that "Rocky Took a Lover" "truly come alive in concert".
"Rocky Took a Lover" music video Lyrics of this song at MetroLyrics
Field recording is the term used for an audio recording produced outside a recording studio, the term applies to recordings of both natural and human-produced sounds. Field recording of natural sounds called phonography, was developed as a documentary adjunct to research work in the field, foley work for film. With the introduction of high-quality, portable recording equipment, it has subsequently become an evocative artform in itself. In the 1970s, both processed and natural phonographic recordings, became popular. "Field recordings" may refer to simple monaural or stereo recordings taken of musicians in familiar and casual surroundings, such as the ethnomusicology recordings pioneered by John Lomax, Nonesuch Records, Vanguard Records. Field recording involves the capture of ambient noises that are low level and complex, and, in response, the requirements from the field recordist have pushed the technical limits of recording equipment, that is, demanding low noise and extended frequency response in a portable, battery-powered unit.
For this reason, field recordists have favoured high-quality recorders and microphone pre-amplifiers. The history of the equipment used in this area tracks the development of professional portable audio recording technology. Field recording is recorded in the same channel format as the desired result, for instance, stereo recording equipment will yield a stereo product. In contrast, a multitrack remote recording captures many microphones on multiple channels to be creatively modified and mixed down to a specific consumer format. Field recording experienced a rapid increase in popularity during the early 1960s, with the introduction of high-quality, portable recording equipment; the arrival of the DAT in the 1980s introduced a new level of audio recording fidelity with extended frequency response and low self-noise. In addition to these technologies, other popular means for field recording have included the analog cassette, the DCC, the MiniDisc; the latest generation of recorders are digital-based.
It is possible to use personal electronic devices, with software, to do field recording and editing. Newly developed techniques include the creative placement of microphones, the diffusion of captured sounds, individual approaches. Field recording was a way to document oral presentations, ethnomusicology projects. Field recording is an important tool in bioacoustics and biomusicology, most in research on bird song. Animals in the wild can display different vocalizations from those in captivity; the use of field recordings in avant-garde, musique concrète, and, more Ambient music was evident from the birth of recording technology. Most noteworthy for pioneering the conceptual and theoretical framework with art music that most embraced the use of raw sound material and field recordings was Pierre Schaeffer, developing musique concrète as early as 1940. Further impetus was provided by the World Soundscape Project, initiated by Canadian composer R. Murray Schafer in the 1970s. Field recordings are now a common source material for a range of musical results, from contemporary musique concrète compositions to film soundtracks, video game soundtracks, effects.
Chris Watson of Cabaret Voltaire, is now the world's leading exponent of this art, with his recordings used for David Attenborough's series for the BBC, programmes for BBC Radio, many other outlets. Another notable application of field recordings as of contemporary music is its inclusion in some vaporwave tracks recordings of public areas such as malls or grocery stores to add atmosphere; the sounds recorded by any device, transferred to digital format, are used by some musicians through their performance with MIDI-interfaced instruments. A contemporary artist with great success for his compositions is Christian Fennesz. In addition, electronic musicians, such as DJ Throwing Shade, have been using field recordings to create music that has "someone playing an instrument in real life, something which cannot be re-created in the same way through synthesised sounds". Earlier innovators who are noted for the importance and boldness of their projects are Luigi Russolo, who, in 1913, with his manifesto, L'arte dei rumori, gave musical value to environmental noise.
He designed and built the Intonarumori—the first instruments for making noise. Francesco Balilla Pratella utilized the Intonarumori in his opera, L'aviatore Dro, written in close collaboration with Filippo Tommaso Marinetti. Radio documentaries use recordings from the field, e.g. a locomotive engine running, for evocative effect. This type of sound functions as the non-fictional counterpart to the sound effect. During the early years of commercial recordings, the speeches of politicians sold well, since few people had radios; the HMV catalogue for 1914–1918 lists over a dozen such records. The last time such records sold well was in 1965, when the LP, The Voice of Churchill, reached number 7 in the UK album charts; this was after Churchill's death. Biomusic Lowercase The Freesound
Flock is the third studio album by Irish band Bell X1. It was released on 14 October 2005 in Ireland, 20 March 2006 in the UK and February 19, 2008 in North America; the album was ranked #15 in Planet Sound's top albums of 2006. Flock was Bell X1's first #1 album in Ireland. Three singles were released from the album in Ireland, "Bigger Than Me", "Flame" and "Rocky Took a Lover", released on 28 August 2006 after gaining cult popularity from radio airplay; the album has had strong reviews from critics, has a Metacritic score of 72/100. The Sunday Times gave the album 5/5, whilst both Allmusic and Paste Magazine gave it 4/5. Planet Sound gave the album 8/10. "Reacharound" – 3:10 "Flame" – 3:53 "Rocky Took a Lover" – 4:10 "He Said She Said" – 4:25 "Bad Skin Day" – 5:56 "Natalie" – 3:54 "Bigger Than Me" – 3:52 "Just Like Mr Benn" – 4:27 "My First Born for a Song" – 5:25 "Trampoline" – 4:48 "Lamposts" – 7:40 "Rocky Took a Lover" "Flame" "Eve, The Apple of My Eye" "My First Born for a Song" "Bigger than Me" "Bad Skin Day" "Natalie" "Reacharound" "Just Like Mr. Ben" "He Said, She Said" "Trampoline" "Lamposts"
Lisa Margaret Hannigan is an Irish singer, songwriter and voice actress. She began her musical career as a member of Damien Rice's band. Since beginning her solo career in 2007 she has released three albums: Sea Sew, At Swim. Hannigan's music has received award nominations both in Ireland and the USA. Hannigan is the voice actress for the character Blue Diamond in Steven Universe, an American animated television series created by Rebecca Sugar. Hannigan grew up in Kilcloon, County Meath, Ireland, she attended primary school at Scoil Oilibhéir Naofa in Kilcloon and secondary school at The King's Hospital in Palmerstown and enrolled at Trinity College, Dublin to study Art History. While still in college, Hannigan met Damien Rice at a concert in Dublin in early 2001. Rice enlisted Hannigan to sing on his 2002 album O and his album "9", featured in the hit "9 Crimes", she toured with Rice as part of his band during that period, lending vocal support and playing guitar, bass or drums. In 2007, Hannigan began a solo career.
Some of Hannigan's live recordings were made available through trading networks radio shows. These recordings included: "Willy" by Joni Mitchell, "Be My Husband" by Nina Simone, "Mercedes Benz" by Janis Joplin and "Love Hurts" by Boudleaux Bryant. Hannigan performed live with her own band, called The Daisy Okell Quartet and contributed guest vocals to the recordings of Mic Christopher, The Frames and Herbie Hancock. Lisa Hannigan's debut solo album, titled Sea Sew, was rehearsed in a barn in Thomastown and recorded in Dublin before being released in Ireland in September 2008; the lead single, "Lille", was made available as a free Internet download and other tracks were available for preview on her Myspace page. The sleeve featured needle-work by Hannigan; some music critics called the recording one of the best Irish albums of the year. Sea Sew received favourable reviews in The New York Times; the single "Lille", released in August 2008 on Irish and American radio stations. Hannigan performed at Electric Picnic 2008.
Hannigan was the opening act for singer-songwriter Jason Mraz on his U. S. tour in 2008. That year she appeared on the charity album Even Better Than the Disco Thing and performed a duet of Mick Flannery's new song "Christmas Past" with Flannery on Tony Fenton's Christmas Special on Today FM. In December 2008, she made her UK solo debut at St Johns Church in London. Hannigan signed with ATO Records in the U. S. where her album was released in February 2009. Sea Sew was nominated for the Choice Music Prize and Best Irish Album at the Meteor Music Awards in January 2009; that year, Hannigan appeared on the American television shows The Colbert Report. In 2009, Hannigan appeared on the BBC's Later... with Jools Holland, performing her song "I Don't Know". Sea Sew rose in the UK charts following this appearance and she performed at Glastonbury 2009 music festival and went on tour in the year, she performed at the nomination ceremony and she was greeted by confused journalists wondering "Lisa who?". Hannigan performed at Electric Picnic 2009 Later in 2009, she toured the United States with David Gray and performed solo shows in New York, Los Angeles and London.
She began a tour of Ireland to finish the year. Hannigan's song "An Ocean and a Rock" was used in a 2009 Irish video supporting same-sex marriage entitled "Sinéad's Hand"; as part of an advertisement campaign for Oxfam's Make Trade Fair, Hannigan was drenched in melted chocolate and she participated in the Irish musical collective The Cake Sale with lead vocal on the track Some Surprise, played on the US television series Grey's Anatomy. Hannigan contributed to the 2009 charity album Sparks n' Mind, released in aid of Aware. In 2009, a broadcast of Other Voices was recorded."Braille" from the album Sea Sew was used in the film Ondine in 2009. Hannigan recorded her second album, Passenger, at Bryn Derwen Studios in North Wales with producer Joe Henry and engineer Ryan Freeland; the album was released in the US and Canada on 20 September 2011, on 7 October in Ireland and the UK. Hannigan performed at the Eurosonic Festival in 2012 when Ireland was the "Spotlight Country". Hannigan announced that her third album was produced in collaboration with Aaron Dessner, founding member of American Indie rock band The National.
The album entitled At Swim was released on 19 August 2016. On 24 May 2016 Hannigan revealed a short teaser in relation to the album's launch. "Prayer For The Dying" and "Ora" are two tracks which have appeared among promotional material in the lead up to the release. Lisa toured Ireland extensively in the lead up to the album release. "Prayer For The Dying" appeared on digital streaming services in June 2016. The album was positively received by several newspapers, including the Guardian, which awarded it four out of five stars, commenting on Hannigan's "crystal vocals" and the album's "stunningly pretty songs with powerful undertones", the Evening Standard, which awarded four out of five stars and mentioned the "new-found accessibility" the album represented; the Telegraph noted the album to be "subtle and gauzy but loaded with emotion", calls Hannigan's voice "an incredible instrument, drawing on both opera and folk, with a softness and intimacy". In 2004, Hannigan credited on soundtrack for "Closer".
In 2007, Hannigan credited on soundtrack for "Shrek the Third". In 2009, Hannigan credited on soundtrack for "Ondine" (songs: Braille, Lille and performed by Lis