Ancestry.com LLC is a held online company based in Lehi, Utah. The largest for-profit genealogy company in the world, it operates a network of genealogical, historical record and genetic genealogy websites; as of November 2018, the company claimed to provide access to 10 billion historical records, to have 3 million paying subscribers and to have sold 14 million DNA kits to customers. In 1990, Paul B. Allen and Dan Taggart, two Brigham Young University graduates, founded Infobases and began offering Latter-day Saints publications on floppy disks. In 1988, Allen had worked at Folio Corporation, founded by his brother Curt and his brother-in-law Brad Pelo. Infobases' first products were floppy disks and compact disks sold from the back seat of the founders' car. In 1994, Infobases was named among Inc. magazine's 500 fastest-growing companies. Their first offering on CD was the LDS Collectors Edition, released in April 1995, selling for $299.95, offered in an online version in August 1995. Ancestry went online with the launch of Ancestry.com in 1996.
On January 1, 1997, Infobases' parent company, Western Standard Publishing, purchased Ancestry, Inc. publisher of Ancestry magazine and genealogy books. Western Standard Publishing's CEO was Joe one of the principal owners of Geneva Steel. In July 1997, Allen and Taggart purchased Western Standard's interest in Inc.. At the time, Brad Pelo was president and CEO of Infobases, president of Western Standard. Less than six months earlier, he had been president of Folio Corporation, whose digital technology Infobases was using. In March 1997, Folio was sold to Open Market for $45 million; the first public evidence of the change in ownership of Ancestry magazine came with the July/August 1997 issue, which showed a newly reorganized Ancestry, Inc. as its publisher. That issue's masthead included the first use of the Ancestry.com web address. More growth for Infobases occurred in July 1997, when Ancestry, Inc. purchased Bookcraft, Inc. a publisher of books written by leaders and officers of the LDS Church.
Infobases had published many of Bookcraft's books as part of its LDS Collector's Library. Pelo announced that Ancestry's product line would be expanded in both CDs and online. Alan Ashton, a longtime investor in Infobases and founder of WordPerfect, was its chairman of the board. Allen and Taggart began running Ancestry, Inc. independently from Infobases in July 1997, began creating one of the largest online subscription-based genealogy database services. In April 1999, to better focus on its Ancestry.com and MyFamily.com Internet businesses, Infobases sold the Bookcraft brand name and its catalog of print books to its major competitor in the LDS book market, Deseret Book. Included in the sale were the rights to Infobases' LDS Collectors Library on CD. A year earlier, Deseret Book had released a competing product called GospeLink, the two products were combined as a single product by Deseret Book; the MyFamily.com website launched in December 1998, with additional free sites beginning in March 1999.
The site generated one million registered users within its first 140 days. The company raised more than US$90 million in venture capital from investors and changed its name on November 17, 1999, from Ancestry.com, Inc. to MyFamily.com, Inc. Its three Internet genealogy sites were called Ancestry.com, FamilyHistory.com, MyFamily.com. Sales were about US$62 million for 2002 and US$99 million for 2003. In March 2004, the company, which had outgrown its call center in Orem, opened a new call center, which accommodates about 700 agents at a time, in Provo. Heritage Makers was acquired by MyFamily.com in September 2005. While the company had been offering free access to Ancestry.com at LDS Family History Centers, that service was terminated on March 17, 2007, because the company and the LDS Church were unable to reach a mutually agreeable licensing agreement. In 2010, Ancestry restored access to its site at Family History Centers. In 2010, Ancestry sold its book publishing assets to Turner Publishing Company.
Ancestry.com became a publicly traded company on NASDAQ on November 5, 2009, with an initial public offering of 7.4 million shares priced at $13.50 per share, underwritten by Morgan Stanley, Bank of America, Merrill Lynch, Jefferies & Company, Piper Jaffray, BMO Capital Markets. In 2010, Ancestry.com expanded its domestic operations with the opening of an office in San Francisco, staffed with brand new engineering and marketing teams geared toward developing some of Ancestry's cutting-edge technology and services. In 2011, Ancestry launched an iOS app. In December 2011, Ancestry.com moved the Social Security Death Index search behind a paywall and stopped displaying the Social Security information of people who had died within the past 10 years, because of identity theft concerns. In March 2012, Ancestry.com acquired the collection of DNA assets from GeneTree. In September 2012, Ancestry.com expanded its international operations with the opening of its European headquarters in Dublin, Ireland.
The Dublin office includes a new call centre for international customers, as well as product and engineering teams. In October 2012, Ancestry.com agreed to be acquired by a private equity group consisting of Permira Advisers LLP, members of Ancestry.com's management team, including CEO Tim Sullivan and CFO Howard Hochhauser, Spectrum Equity, for $32 per share or around $1.6 billion. At the same time, Ancestry.com purchased a photo digitization and sharing service called 1000Memories. On July 16, 2015, Ancestry launched AncestryHealth, announced the appointment of Cathy A. Petti as its Chief Health Officer. In April 2016 GIC Private Limited (a sovereign wealth fund owned by the Government of S
Bruiseology is the second and final album by new wave band the Waitresses, released by Polydor Records in 1983. The album was failed to chart; the band disbanded a year later. All songs written except where noted. "A Girl's Gotta Do" "Make the Weather" "Everything's Wrong If My Hair Is Wrong" "Luxury" "Open City" "Thinking About Sex Again" "Bruiseology" "Pleasure" "Spin" "They're All Out of Liquor, Let's Find Another Party" Patty Donahue – vocals Chris Butler – guitar Dan Klayman – organ Tracy Wormworth – bass, lead vocal on "Spin" Billy Ficca – drums Mars Williams – saxophonewith: Ed Caraeff – art direction, photography
New Musical Express is a British music journalism website and former magazine, published since 1952. It was the first British paper to include a singles chart, in the edition of 14 November 1952. In the 1970s it became the best-selling British music newspaper. During the period 1972 to 1976, it was associated with gonzo journalism became associated with punk rock through the writings of Julie Burchill, Paul Morley and Tony Parsons, it started as a music newspaper, moved toward a magazine format during the 1980s and 1990s, changing from newsprint in 1998. An online version, NME.com, was launched in 1996. It became the world's biggest standalone music site, with over sixteen million users per month. With newsstand sales falling across the UK magazine sector, the magazine's paid circulation in the first half of 2014 was 15,830. In 2013, the list of NME's The 500 Greatest Albums of All Time and the way it was conceived was criticized by the media; the printed magazine NME was relaunched in September 2015 to be distributed nationally as a free publication.
The first average circulation published in February 2016 of 307,217 copies per week was the highest in the brand's history, beating the previous best of 306,881, recorded in 1964 at the height of the Beatles' fame. By December 2017, according to the Audit Bureau of Circulations, average distribution of NME had fallen to 289,432 copies a week, although its publisher Time Inc. UK claimed to have more than 13m global unique users per month, including 3m in the UK. In March 2018, the publisher announced that the print edition of NME would cease publication after 66 years, leaving it as an online-only title. NME's headquarters are in Southwark, England; the brand's current editor is Charlotte Gunn, replacing Mike Williams, who stepped down in February 2018. The paper was established in 1952; the Accordion Times and Musical Express was bought by London music promoter Maurice Kinn, for the sum of £1,000, just 15 minutes before it was due to be closed. It was relaunched as the New Musical Express, was published in a non-glossy tabloid format on standard newsprint.
On 14 November 1952, taking its cue from the US magazine Billboard, it created the first UK Singles Chart, a list of the Top Twelve best-selling singles. The first of these was, in contrast to more recent charts, a top twelve sourced by the magazine itself from sales in regional stores around the UK; the first number one was "Here in My Heart" by Al Martino. During the 1960s the paper championed the new British groups emerging at the time; the NME circulation peaked under Andy Gray with a figure of 306,881 for the period from January to June 1964. The Beatles and the Rolling Stones were featured on the front cover; these and other artists appeared at the NME Poll Winners' Concert, an awards event that featured artists voted as most popular by the paper's readers. The concert featured a ceremony where the poll winners would collect their awards; the NME Poll Winners' Concerts took place between 1959 and 1972. From 1964 onwards they were filmed and transmitted on British television a few weeks after they had taken place.
In the mid-1960s, the NME was dedicated to pop while its older rival, Melody Maker, was known for its more serious coverage of music. Other competing titles included Record Mirror, which led the way in championing American rhythm and blues, Disc, which focused on chart news; the latter part of the decade saw the paper chart the rise of psychedelia and the continued dominance of British groups of the time. During this period some sections of pop music began to be designated as rock; the paper became engaged in a sometimes tense rivalry with Melody Maker. By the early 1970s, NME had lost ground to Melody Maker, as its coverage of music had failed to keep place with the development of rock music during the early years of psychedelia and progressive rock. In early 1972 the paper found itself on the verge of closure by its owner IPC. According to Nick Kent: After sales had plummeted to 60,000 and a review of guitar instrumentalist Duane Eddy had been printed which began with the immortal words "On this, his 35th album, we find Duane in as good as voice as ever," the NME had been told to rethink its policies or die on the vine.
Alan Smith was made editor in 1972, was told by IPC to turn things around or face closure. To achieve this and his assistant editor Nick Logan raided the underground press for writers such as Charles Shaar Murray and Nick Kent, recruited other writers such as Tony Tyler, Ian MacDonald and Californian Danny Holloway. According to The Economist, the New Musical Express "started to champion underground, up-and-coming music.... NME became the gateway to a more rebellious world. First came glamrock, bands such as T. Rex, came punk....by 1977 it had become the place to keep in touch with a cultural revolution, enthralling the nation's listless youth. Bands such as Sex Pistols, X-Ray Spex and Generation X were regular cover stars, eulogised by writers such as Julie Burchill and Tony Parsons, whose nihilistic tone narrated the punk years perfectly." By the time Smith handed the editor's chair to Logan in mid-1973, the paper was selling nearly 300,000 copies per week and was outstripping Melody Maker, Record Mirror and Sounds.
According to MacDonald: I think all the other papers knew by 1974 that NME had become the best music paper in Britain. We had most of the best writers and photographers, the best layouts
New wave music
New wave is a genre of rock music popular in the late 1970s and the 1980s with ties to mid-1970s punk rock. New wave moved away from blues and rock and roll sounds to create rock music or pop music that incorporated disco and electronic music. New wave was similar to punk rock, before becoming a distinct genre, it subsequently engendered fusions, including synth-pop. New wave differs from other movements with ties to first-wave punk as it displays characteristics common to pop music, rather than the more "artsy" post-punk. Although it incorporates much of the original punk rock sound and ethos, new wave exhibits greater complexity in both music and lyrics. Common characteristics of new wave music include the use of synthesizers and electronic productions, a distinctive visual style featured in music videos and fashion. New wave has been called one of the definitive genres of the 1980s, after it was promoted by MTV; the popularity of several new wave artists is attributed to their exposure on the channel.
In the mid-1980s, differences between new wave and other music genres began to blur. New wave has enjoyed resurgences since the 1990s, after a rising "nostalgia" for several new wave-influenced artists. Subsequently, the genre influenced other genres. During the 2000s, a number of acts, such as the Strokes, Franz Ferdinand and The Killers explored new wave and post-punk influences; these acts were sometimes labeled "new wave of new wave". The catch-all nature of new wave music has been a source of much controversy; the 1985 discography Who's New Wave in Music listed artists in over 130 separate categories. The New Rolling Stone Encyclopedia of Rock calls the term "virtually meaningless", while AllMusic mentions "stylistic diversity". New wave first emerged as a rock genre in the early 1970s, used by critics including Nick Kent and Dave Marsh to classify such New York-based groups as the Velvet Underground and New York Dolls, it gained currency beginning in 1976 when it appeared in UK punk fanzines such as Sniffin' Glue and newsagent music weeklies such as Melody Maker and New Musical Express.
In November 1976 Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands not punk, but related to the same musical scene. The term was used in that sense by music journalist Charles Shaar Murray in his comments about the Boomtown Rats. For a period of time in 1976 and 1977, the terms new wave and punk were somewhat interchangeable. By the end of 1977, "new wave" had replaced "punk" as the definition for new underground music in the UK. In the United States, Sire Records chairman Seymour Stein, believing that the term "punk" would mean poor sales for Sire's acts who had played the club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave"; as radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "new wave". Like the filmmakers of the French new wave movement, its new artists were anti-corporate and experimental. At first, most U. S. writers used the term "new wave" for British punk acts.
Starting in December 1976, The New York Rocker, suspicious of the term "punk", became the first American journal to enthusiastically use the term starting with British acts appropriating it to acts associated with the CBGB scene. Part of what attracted Stein and others to new wave was the music's stripped back style and upbeat tempos, which they viewed as a much needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with the ascendance of overblown progressive rock and stadium spectacles. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk. Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity or more polished production, came to be categorized as "new wave". In the U. S. the first new wavers were the not-so-punk acts associated with the New York club CBGB.
CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, "I think of that as the beginning of new wave." Furthermore, many artists who would have been classified as punk were termed new wave. A 1977 Phonogram Records compilation album of the same name features US artists including the Dead Boys, Talking Heads and the Runaways. New wave is much more tied to punk, came and went more in the United Kingdom than in the United States. At the time punk began, it was a major phenomenon in the United Kingdom and a minor one in the United States, thus when new wave acts started getting noticed in America, punk meant little to the mainstream audience and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts. Post-punk music developments in the UK were considered unique cultural events. By the early 1980s, British journalists had abandoned the term "new wave" in favor of subgenre terms such as "synthpop".
By 1983, the term of choice for the US music industry had become "new music", while to the majority of US fans it was still a "new wave" reacting to album-based rock. New wave died out in the mid-1980s, knocked out by guitar-driven rock reacting against new wave. In the 21st-century United States, "new wave" was used to describe ar
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
Singing is the act of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, a variety of vocal techniques. A person who sings is called a vocalist. Singers perform music that can be sung without accompaniment by musical instruments. Singing is done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music and religious music styles such as gospel, traditional music styles, world music, blues and popular music styles such as pop, electronic dance music and filmi. Singing arranged or improvised, it may be done as a form of religious devotion, as a hobby, as a source of pleasure, comfort or ritual, as part of music education or as a profession. Excellence in singing requires time, dedication and regular practice.
If practice is done on a regular basis the sounds can become more clear and strong. Professional singers build their careers around one specific musical genre, such as classical or rock, although there are singers with crossover success, they take voice training provided by voice teachers or vocal coaches throughout their careers. In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows. Though these four mechanisms function independently, they are coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals and sternocleidomastoid muscles; the pitch is altered with the vocal cords. With the lips closed, this is called humming; the sound of each individual's singing voice is unique not only because of the actual shape and size of an individual's vocal cords but due to the size and shape of the rest of that person's body.
Humans have vocal folds which can loosen, tighten, or change their thickness, over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, timbre, or tone of the sound produced. Sound resonates within different parts of the body and an individual's size and bone structure can affect the sound produced by an individual. Singers can learn to project sound in certain ways so that it resonates better within their vocal tract; this is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds; these different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant, it has been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa.
The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds. Vocal registration refers to the system of vocal registers within the voice. A register in the voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, possessing the same quality. Registers originate in laryngeal function, they occur. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds; the occurrence of registers has been attributed to effects of the acoustic interaction between the vocal fold oscillation and the vocal tract. The term "register" can be somewhat confusing; the term register can be used to refer to any of the following: A particular part of the vocal range such as the upper, middle, or lower registers. A resonance area such as chest voice or head voice. A phonatory process A certain vocal timbre or vocal "color" A region of the voice, defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology, the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, the whistle register; this view is adopted by many vocal pedagogues. Vocal resonation is the process by which the basic product of phonation is en
Zipper Catches Skin
Zipper Catches Skin is the fourteenth studio album by Alice Cooper, released in 1982. Co-produced by Cooper and his bassist at the time, Erik Scott, Zipper Catches Skin is musically known for its dry and energetic hard rock style, with pop punk and post-punk influences and less emphasis on hard riffs, carrying on a similar musical direction of the preceding Special Forces with sonically slicker and clearer results. Lyrically, Cooper employed a much stronger focus on comical sarcasm and on avoiding using clichéd subject matter. Erik Scott has stated the album “was meant to be lean, stripped down, low on frills. Punkish and bratty.” However, although it saw the return of guitarist Dick Wagner to Cooper's band, Zipper is not considered to be up to the same standard as his previous works. At the time, Cooper described Zipper Catches Skin as “totally kill. Real hardcore; the stuff that I do has always been a lot like that. In fact, I invented a couple of songs that were remakes of other songs, just for the purpose of attacking clichés.
There are no clichés on this album, I did that for a specific reason. Rock and roll right now is jammed with clichés.” Cooper described the photograph of him on the album's back cover as “very Haggar slacks. I look good. I look like a GQ ad, only I’m zipping up my pants and you can see definite pain on my face."” Dick Wagner, who left halfway through the recording sessions, described Zipper Catches Skin as “the off to the races speedy album” and a “drug induced nightmare”. Wagner revealed in a segment of the Deleted Scenes on the 2014 documentary film Super Duper Alice Cooper that Alice was smoking crack cocaine at the time and had a curtain set up behind the recording mic with a stool on it where he kept his crack pipe. Zipper Catches Skin is the second of three albums which Alice refers to as his “blackout” albums, the others being the preceding album, Special Forces, the following album, DaDa, as he has no recollection of recording them, due to the substance abuse, although he did manage to film a TV advert intended to promote Zipper at the time.
Cooper stated “I wrote them, recorded them and toured them and I don’t remember much of any of that”, though he toured only Special Forces. There was no tour to promote Zipper, none of its songs have been played live. Despite its first single “I Am the Future” being featured in the film Class of 1984 as its theme song, The Waitresses’ Patty Donahue appearing on its other single “I Like Girls”, Zipper Catches Skin failed to chart in most countries, including in the US where it became Cooper's first album to not dent the Billboard Top 200 since Easy Action; the album's inconspicuous front cover, featuring just the album's lyrics with a smear of blood rather than exploiting the vivid imagery suggestive of the album's title, did not help the situation. Alice Cooper – vocals, synthesizer Dick Wagner – guitar Mike Pinera – guitar Erik Scott – bass Jan Uvena – drums, percussionAdditional personnelJohn Nitzinger – guitar Billy Steele – guitar Duane Hitchings – synthesizer Craig Krampf - percussion Frannie Golde, Joanne Harris, Flo & Eddie - vocals Patty Donahue - guest vocals and "sarcasm" on "I Like Girls"