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
Abbey Road Studios
Abbey Road Studios is a recording studio at 3 Abbey Road, St John's Wood, City of Westminster, England. It was established in November 1931 by the Gramophone Company, a predecessor of British music company EMI, which owned it until Universal Music took control of part of EMI in 2013. Abbey Road Studios is most notable as being the 1960s' venue for innovative recording techniques adopted by the Beatles, Pink Floyd, the Hollies, as well as others. One of its earliest world-famous-artist clients was Paul Robeson, who recorded there in December 1931 and went on to record many of his best-known songs there. Towards the end of 2009, the studio came under threat of sale to property developers. However, the British Government protected the site, granting it English Heritage Grade II listed status in 2010, thereby preserving the building from any major alterations. A nine-bedroom Georgian townhouse built in 1831 on the footpath leading to Kilburn Abbey, the building was converted to flats where the most well-known resident was Maundy Gregory.
In 1929, the Gramophone Company converted it into studios. The property benefited from a large garden behind the townhouse, which permitted a much larger building to be constructed to the rear. Pathé filmed the opening of the studios in November 1931 when Edward Elgar conducted the London Symphony Orchestra in recording sessions of his music. In 1934, the inventor of stereo sound, Alan Blumlein, recorded Mozart's Jupiter Symphony, conducted by Thomas Beecham at the studios; the neighbouring house is owned by the studio and used to house musicians. During the mid-20th century, the studio was extensively used by leading British conductor Sir Malcolm Sargent, whose house was just around the corner from the studio building; the Gramophone Company merged with Columbia Graphophone Company to form Electric and Musical Industries in 1931, the studios became known as EMI Recording Studios. In 1936 cellist Pablo Casals became the first to record Johann Sebastian Bach's Cello Suites No. 1 & 2 at the command of EMI head Fred Gaisberg.
The recordings went on to spur a revolution among Bach cellists alike. In 1958, Studio Two at Abbey Road became a centre for rock and roll music when Cliff Richard and the Drifters recorded "Move It" there, pop music material. Abbey Road Studios is associated with the Beatles, who recorded all of their albums and hits there between 1962 and 1970 using the four-track REDD mixing console designed by Peter K. Burkowitz; the Beatles named their 1969 album Abbey Road, after the street. The studio was renamed Abbey Road Studios in 1970. Iain Macmillan took the album's cover photograph outside the studios, with the result that the nearby zebra crossing has become a place of pilgrimage for Beatles fans, it has been a tradition for visitors to pay homage to the band by writing on the wall in front of the building though it is painted over every three months. December 2010, the zebra crossing at Abbey Road was given a Grade II listed status. Pink Floyd recorded most of their late 1960s to mid-1970s albums here, returning only in 1988 for mixing and overdubbing subsequent albums.
Notable producers and sound engineers who have worked at Abbey Road include George Martin, Geoff Emerick, Norman "Hurricane" Smith, Ken Scott, Mike Stone, Alan Parsons, Peter Vince, Malcolm Addey, Peter Brown, Richard Langham, Phil McDonald, John Kurlander, Richard Lush and Ken Townsend, who invented the groundbreaking studio effect known as automatic double tracking. The chief mastering engineer at Abbey Road was Chris "Vinyl" Blair, who started his career as a tape deck operator. In 1979, EMI commissioned the British jazz fusion band Morrissey-Mullen to record Britain's first digitally recorded single record at Abbey Road Studios. From 18 July to 11 September 1983, the public had a rare opportunity to see inside the legendary Studio Two where the Beatles made most of their records. While a new mixing console was being installed in the control room, the studio was used to host a video presentation called The Beatles at Abbey Road; the soundtrack to the video had a number of recordings that were not made commercially available until the release of The Beatles Anthology project over a decade later.
The Red Hot Chili Peppers used a photograph of the band walking across the zebra crossing naked on the front of The Abbey Road E. P., released in 1988. In September 2005, American hip-hop artist Kanye West, backed by a 17-piece female string orchestra, performed songs derived from his first two studio albums at Abbey Road Studios. Recordings of these live renditions formed his live album, Late Orchestration, released in April 2006; the cover art for the album makes use of the famous zebra crossing with West's trademark'Dropout Bear' seen walking across it. In June 2011, South Korean boy band Shinee performed at the studio as part of its Japanese debut showcase in partnership with EMI and the group's local record label SM Entertainment, becoming the first-ever Asian artist to perform in the studio. In November 2011, Australian recording artist Kylie Minogue recorded some of her most famous songs with a full orchestra at Abbey Road Studios; the album called The Abbey Road Sessions was released October 2012.
In September 2012, with the takeover of EMI, the studio became the property of Universal Music. It was not one of the entities. In February 2017, a rare BTR-3 tape recorder used at Abbey Road, was found by members of
Troy Donockley is an English composer and multi-instrumentalist most known for his playing of Uilleann pipes. Having performed with many artists as a session player, he is most notable as a member of Finnish symphonic metal band Nightwish, which he has performed with since 2007 and joined as a full-time member in 2013. Donockley was born in Cumbria. At the age of 16, Troy joined them, his father's record collection was broad and gave his son a love of classical, country as well as traditional music. He is a master of the Uilleann pipes, his ambition as a teenager was to travel the world as a musician, but hated "empty pop created by cynical twerps". The strangeness of the sound of the Uilleann pipes enabled him to become a session musician with prog-rockers The Enid in 1987 on their album'The Seed and the Sower'. In 1987, he formed Celtic Rock band'You Slosh', recording'Glorious Racket' with them in 1989. In the following year, he recorded as a session musician with Celtic-folk band Iona; this was at the beginning of the boom in Celtic-folk bands, both ventures were successful.
Donockley recorded one more album with nine more albums with Iona. He became an official member of the group in 1995 and left the band in 2009. Máire Brennan, a member of the best-known Celtic-folk group, called on Donockley to be a session musician on'Two Horizons'. In 1999, Donockley recorded'Our Kate' on the album'Debatable Lands' by Kathryn Tickell, contrasting two types of pipes with her. Together with Adrian Edmondson, Donockley founded the band The Bad Shepherds in 2008, performing punk and new wave classics on folk instruments. Both Barbara Dickson and Maddy Prior lived in the north of England and Donockley met them both. Alongside her easy listening albums, Dickson recorded folk albums. In 1994, again in 2004, Donockley was a session musician for Dickson's folk albums and went on to produce several of her albums including'Words Unspoken' and'To Each & Everyone - The Songs of Gerry Rafferty'. After recording Flesh and Blood with Prior in 1997, Donockley became co-producer of her next four solo albums.
Donockley's first appearance with Nightwish was on their 2007 release, Dark Passion Play, as a guest musician, providing some whistles and pipes to the songs "The Islander", "Last of the Wilds", "Meadows of Heaven". He joined them on select shows of the subsequent tour and appeared in the music video for "The Islander". In 2011, Donockley appeared as a guest on Imaginaerum, providing whistles and vocals, he joined Nightwish again on the Imaginaerum World Tour, appeared on the band's concert DVD'Showtime, Storytime'. He appears in the Imaginaerum film from 2012 as a stage illusionist. Following the conclusion of the Imaginaerum World Tour, Donockley was made a full-time member of Nightwish in October 2013. Donockley has recorded as a session musician with Roy Harper, Midge Ure, Del Amitri, Alan Stivell and Status Quo. Bruce Johnson of the Beach Boys has used him. Eight studio albums by prog-rockers Mostly Autumn feature him, as do Welsh prog group Magenta on two albums, he performed on Etarlis, a 2007 release by Mermaid Kiss.
He can be heard on recent movie soundtracks Robin Ironclad. Notably, he performed at the Scottish leg of Live 8 with Midge Ure. Donockley has composed music for orchestra, he has gone to great lengths to find the right kind of studio production. The Unseen Stream and The Pursuit of Illusion put the uilleann pipes in a sound mix that had never been heard before, his latest classical work is The Madness of Crowds. He is a vegan; the Unseen Stream The Pursuit of Illusion The Madness of Crowds Dark Passion Play Made in Hong Kong EP Imaginaerum Showtime, Storytime Live DVD Endless Forms Most Beautiful Vehicle of Spirit Live DVD Full Circle Time and Tide Words Unspoken To Each & Everyone - The Songs of Gerry Rafferty Yan, Tethera, Methera! By Hook or By Crook Mud Blood & Beer Iona The Book of Kells Beyond These Shores Journey Into The Morn Heaven's Bright Sun Woven Cord Open Sky The River Flows The Circling Hour When Worlds Collide From Silence Flesh and Blood Ravenchild Ballads and Candles Arthur The King Lionheart Duet Glorious Racket Lift Me Up Auri The Enid – The Seed and the Sower Barbara Dickson – Parcel of Rogues, Full Circle Kathryn Tickell – Debatable Lands Mostly Autumn – The Spirit of Autumn Past, The Last Bright Light, Storms Over Still Water, Storms Over London Town, Heart Full of Sky, Glass Shadows, Go Well Diamond Heart, Ghost Moon Orchestra Roy Harper – Royal Festival Hall Live - 10 June 2001 Mermaid Kiss – Etarlis Magenta – Home, Metamorphosis Johanna Kurkela – Hyvästi, Dolores Haze Kompendium – Beneath The Waves Mike Dawes – What Just Happened?
Ayreon – The Theory of Everything Tuomas Holopainen – Music Inspired by the Life and Times of Scrooge Gandalf's Fist – A Forest of Fey Dave Bainbridge – Celestial Fire Kamelot – Haven Karnataka – The Gathering Light, Secrets of Angels Sonata Arctica – The Ninth Hour Steve Hackett –
Joanne Hogg is a Northern Irish singer and songwriter, best known for her work as the lead singer and songwriter with the Celtic Christian progressive rock and pop band Iona. Hogg was born in Northern Ireland, her father is her mother a nurse. With medicine strong in the family, it was natural for Hogg to become a doctor. Thus, she studied medicine at Queen's University Belfast. In her third year, Hogg was singing at the Christian Artists talent event and was convinced to sing in a school ministry at Youth for Christ in Denmark. After a year, Hogg returned to the University to complete her two remaining years of schooling. After graduating, Hogg interned as a junior doctor at Belfast City Hospital to complete her registration. Six months into working at the hospital, she was taken ill and stopped working for seven months to recover. After recovering, she completed her registration as a doctor, but was advised on medical grounds not to continue in full-time medical work. During her convalescence, she had been contacted by Dave Bainbridge and Dave Fitzgerald, who had considered forming a band.
In 1989, Hogg ceased practising medicine, Iona was born. Since Hogg has sung all over Europe and America. Iona's recordings have become successful worldwide, making them Europe's best-selling contemporary Christian band. Hogg recorded her first solo album in 1999, entitled Looking into Light; the tracks that feature on this album are a selection of re-arranged traditional hymns, with Iona providing the instrumental melodies. In 2001, Hogg collaborated with vocalists Máire Brennan and Margaret Becker for the release New Irish Hymns. There have been a further three volumes of the New Irish Hymns series of albums involving other vocals. Iona provided the instrumentals. In 2008, Hogg released Raphael's Journey and Personal. Raphael's Journey is available only as a download and features friend Moya Brennan of Clannad; the album is available only through Kingsway Music UK. Hogg, in her personal press release, says: Musically, this album is a collection of songs with a few instrumentals. Frank Van Essen has been working with me on this for several years not only as producer, but co-writing and playing.
There are beautiful performances from all my mates in Iona, gorgeous string arrangements from Frank, beautiful guest vocals from the amazing Moya Brennan and piano and vocals from myself......so, please download it and tell others about it." Her Personal album was released with a press release by Hogg, "to give fans the true story of the album". Her vocals were further featured in the 1998 PlayStation role-playing video game Xenogears. Composed by Yasunori Mitsuda, the ending-theme song "Small Two of Pieces", along with an extra track "Stars of Tears" were recorded. Mitsuda invited her to record the vocal themes for the spiritual prequel to Xenogears, Xenosaga: Episode One released four years in 2002. Two tracks were recorded for this game: the ending-theme "Kokoro", the song "Pain", which plays during the final cutscene of the game. Soundtracks were released for both of these videogames on the Digicube label; the song "Kokoro" was released as a CD single. Hogg's vocals were not featured in any of the Xenosaga releases, as Yasunori Mitsuda was replaced with Yuki Kajiura as the game's musical composer.
Looking into Light Celtic Hymns Raphael's Journey Personal Uncountable Stars MAP Project Road from Ruin New Irish Hymns New Irish Hymns 2 New Irish Hymns 3: Incarnation New Irish Hymns 4 Songs for Luca Veil of Gossamer Xenogears Original Soundtrack Xenosaga: Episode One Original Soundtrack Xenosaga: Episode One "Kokoro" Single The Unseen Stream The Pursuit of Illusion The Cave Sessions Vol.1 Official Iona Band biography Iona Band biography Joanne Hogg's page Profile at Square Enix Music Online
Progressive rock is a broad genre of rock music that developed in the United Kingdom and United States throughout the mid to late 1960s. Termed "progressive pop", the style was an outgrowth of psychedelic bands who abandoned standard pop traditions in favour of instrumentation and compositional techniques more associated with jazz, folk, or classical music. Additional elements contributed to its "progressive" label: lyrics were more poetic, technology was harnessed for new sounds, music approached the condition of "art", the studio, rather than the stage, became the focus of musical activity, which involved creating music for listening, not dancing. Prog is based on fusions of styles and genres, involving a continuous move between formalism and eclecticism. Due to its historical reception, prog's scope is sometimes limited to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, an obsessive dedication to technical skill. While the genre is cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, only a handful of groups purposely emulated or referenced classical music.
The genre coincided with the mid 1960s economic boom that allowed record labels to allocate more creative control to their artists, as well as the new journalistic division between "pop" and "rock" that lent generic significance to both terms. Prog faded soon after. Conventional wisdom holds that the rise of punk rock caused this, but several more factors contributed to the decline. Music critics, who labelled the concepts as "pretentious" and the sounds as "pompous" and "overblown", tended to be hostile towards the genre or to ignore it. After the late 1970s, progressive rock fragmented in numerous forms; some bands achieved commercial success well into the 1980s or crossed into symphonic pop, arena rock, or new wave. Early groups who exhibited progressive features are retroactively described as "proto-prog"; the Canterbury scene, originating in the late 1960s, denoted a subset of prog bands who emphasised the use of wind instruments, complex chord changes and long improvisations. Rock in Opposition, from the late 1970s, was more avant-garde, when combined with the Canterbury style, created avant-prog.
In the 1980s, a new subgenre, neo-progressive rock, enjoyed some commercial success, although it was accused of being derivative and lacking in innovation. Post-progressive draws upon newer developments in popular music and the avant-garde since the mid 1970s; the term "progressive rock" is synonymous with "art rock", "classical rock" and "symphonic rock". "art rock" has been used to describe at least two related, but distinct, types of rock music. The first is progressive rock as it is understood, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favour of a modernist, avant-garde approach. Similarities between the two terms are that they both describe a British attempt to elevate rock music to new levels of artistic credibility. However, art rock is more to have experimental or avant-garde influences. "Prog" was devised in the 1990s as a shorthand term, but became a transferable adjective suggesting a wider palette than that drawn on by the most popular 1970s bands.
Progressive rock is varied and is based on fusions of styles and genres, tapping into broader cultural resonances that connect to avant-garde art, classical music and folk music and the moving image. Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes; when the "progressive" label arrived, the music was dubbed "progressive pop" before it was called "progressive rock", with the term "progressive" referring to the wide range of attempts to break with standard pop music formula. A number of additional factors contributed to the acquired "progressive" label: lyrics were more poetic. Critics of the genre limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, an obsessive dedication to technical skill. While progressive rock is cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, only a handful of groups purposely emulated or referenced classical music.
Writer Emily Robinson says that the narrowed definition of "progressive rock" was a measure against the term's loose application in the late 1960s, when it was "applied to everyone from Bob Dylan to the Rolling Stones". Debate over the genre's criterion continued to the 2010s on Internet forums dedicated to prog. According to musicologists Paul Hegarty and Martin Halliwell, Bill Martin and Edward Macan authored major books about prog rock while "effectively accept the characterization of progressive rock offered by its critics.... They each do so unconsciously." Academic John S. Cotner contests Macan's view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock. Author Kevin Holm-Hudson ag
Dave Bainbridge is an English keyboard player and guitarist who with Dave Fitzgerald co-founded the Christian progressive and Celtic folk themed band Iona. Born in Darlington, England from a musical family. Dave learnt guitar from thirteen, he joining his first band'Exodus' at fourteen. Dave went to Leeds College of Music. Whilst at college Dave, met singer and songwriter Adrian Snell; the result was a working partnership that spanning eight years and through which he would first meet Joanne Hogg and David Fitzgerald. This partnership went on to be the founding force behind the group Iona. Dave and Iona toured the world with the band between 1989 and 2015, releasing 13 critically acclaimed albums. Dave’s multi-faceted career as a solo artist, guitarist, bouzouki player, improviser, arranger and sound mixer has led him into many musical genres and work with numerous artists including: Strawbs, Jack Bruce, Buddy Guy, Troy Donockley, Nick Beggs, Gloria Gaynor, Moya Brennan, Robert Fripp, Mae McKenna, Phil Keaggy, Paul Jones, Damian Wilson, Nick Fletcher, ‘Snake’ Davis, Adrian Snell, PP Arnold, Mollie Marriott, Norman Beaker, Fred T Baker, Dave Brons, Paul Bielatowicz and many others.
Winner of the BBC Radio 2 Best Jazz soloist award and the Sam Hood Rosebowl for Outstanding Performance during his time at Leeds Music College, Dave has composed soundtracks for numerous short films, TV and multimedia productions and has co-written a guitar concerto with Classic FM favourite Nick Fletcher, released on the album ‘Cathedral of Dreams’. Dave has released three solo albums, ‘Veil of Gossamer’, ‘Celestial Fire’ and his first solo piano album ‘The Remembering’; the ‘Celestial Fire’ album led to the formation of the band of the same name in 2015 and the Celestial Fire band ’Live in the UK’ DVD/2 cd album was released in April 2017. Dave has released two collaborative albums with Troy Donockley and two with Iona's David Fitzgerald. Current live projects include his new band Celestial Fire, The Strawbs, the Dave Bainbridge & Sally Minnear duo and occasional solo concerts. Dave was arranger & musical director for Adrian Snell’s sell out live performances in The Netherlands of his works ‘The Passion’, ‘Light of the World’ and'Alpha and Omega', all of which feature a full band of top Dutch session musicians, vocal soloists and a 60 piece choir.
"Dave Bainbridge is a genius of immeasurable proportions….working with artists as varied as Buddy Guy, Jack Bruce and IONA. If you are unfamiliar with him it's time to make amends. Trust me." Nick Beggs"I've been listening to'Celestial Fire' and I love it! Wow… That's some amazing stuff man! One of the best albums I've heard in a while." Neal Morse "Dave is a major driving force behind the band Iona. His fluid, emotional guitar playing, epic keyboard work and expansive compositions combine into one of this generation’s most powerful and original musical voices.” John Kellogg “Bainbridge's guitar playing is superb. Chris MacIntosh 88.1fm WCWP New York“Soaring guitar passages, stunning keyboard work, inspirational waves of orchestral prog.” Bert Saraco A multi-instrumentalist and songwriter, Bainbridge's solo material continues in the style established in Iona, fusing progressive rock, Celtic folk and improvisational elements in a unique way. A number of members of Iona have co-operated on each others.
Veil of Gossamer Celestial Fire The Remembering Live in the Studio Dave Bainbridge & Sally Minnear Celestial Fire - Live in the UK see Iona for a list of their recordings Eye of the Eagle Eye of the Eagle Life Journey When Worlds Collide From Silence From Silence The Ferryman's Curse Cardington Songs for Luca Songs for Luca 2 Breaking of the Dawn Cathedral of Dreams Official website Iona's Official Website