"Wicked Game" is a song by American rock musician Chris Isaak, released from his third studio album Heart Shaped World. Despite being released as a single in 1989, it did not become a hit until it was featured in the David Lynch film Wild at Heart. Lee Chesnut, an Atlanta radio station music director who loved David Lynch films, began playing the song, it became a nationwide top-ten hit in January 1991, reaching number 6 on the Billboard Hot 100 chart, making it the first hit song of Isaak's career, it has subsequently been covered by many other artists and been featured in numerous high-profile movies and television series and advertisements, so much so that Dazed magazine questioned whether it might be the most influential love song in modern music. The song is in the key of A Major and is played with notes from the B Dorian mode performed in what AllMusic describes as a "brooding, sorrowfully conflicted" tone. Although it is interpreted as a ballad about unrequited love, Isaak himself has said that the song was inspired by a telephone call from a girl seeking to arrange a casual sexual liaison and is about "what happens when you have a strong attraction to people that aren't good for you".
It was written in short order following the call. Through several years, many different versions and arrangements of the song were made before the final version was released. Both the bassline and drums were sampled from previous recordings of the song and looped. James Calvin Wilsey played the distinctive lead guitar solo on the song. There are two different music videos for this song; the most well-known music video of the song was directed by Herb Ritts, shot in Hawaii at what was known as Kamoamoa beach in Hawaii Volcanoes National Park on the Big Island. The newly formed black-sand beach was created from lava from Kilauea volcano flowing into the ocean about a mile away; the beach was covered by lava not long. The video featured supermodel Helena Christensen frolicking on the beach with Isaak, it was filmed in black and white. Isaak and Christensen were shirtless through most of the video, although her nudity was concealed by clever camera angles. In the middle of the video, Christensen was seen only in panties.
The video won the MTV Video Music Awards for Best Male Video, Best Cinematography and Best Video from a Film. It was ranked #13 on VH1's 100 Greatest Videos, #4 on VH1's 50 Sexiest Video Moments, #73 on Rolling Stone magazine's The 100 Top Music Videos, #1 on Fuse's 40 Sexiest Videos in 2010. Another video was directed by David Lynch, it features scenes of Lula and Sailor from the film, interspersed with black-and-white footage of Isaak performing the song. Chris Isaak – vocals, acoustic guitar James Calvin Wilsey – electric guitar Rowland Salley – bass guitar, vocals Kenney Dale Johnson – percussion Frank Martin – keyboards The Finnish band HIM remade this song, first using it in their demo This Is Only the Beginning on their EP 666 Ways To Love: Prologue, followed by another recording of it on their first album Greatest Lovesongs Vol. 666, lastly on the British and American versions of their second album Razorblade Romance. The last recording they made of it reappeared on their compilation album And Love Said No: The Greatest Hits 1997–2004.
"Wicked Game" became the band's breakthrough song in their native Finland. HIM frontman Ville Valo had this to say about "Wicked Game": "I went to Pasila's library and borrowed the soundtrack-vinyl of Wild At Heart and recorded it on tape. So with Linde we tried to'learn' the song from the tape, it was kind of funny. We did not hear the guitar parts well enough from that'bad quality' tape. We heard the lyrics wrong, when the song was recorded to our first EP, there were a few funny mistakes in the lyrics." German release"Wicked Game" – 3:54 "For You" – 4:00 "Our Diabolical Rapture" – 5:20 "Wicked Game" – 3:58Finnish release"Wicked Game" "For You"2000 UK release"Wicked Game" – 3:36 "When Love and Death Embrace" – 3:34 "The Heartless" – 3:112000 Swedish release"Wicked Game" 2000 "When Love and Death Embrace" – 3:34 Il Divo bought the copyright and covered the song in the classical crossover genre, performing the song in his lyrical voice, in Italian. It was included on his 2011 album of the same name.
Singer songwriter Gemma Hayes recorded a version of the song. On February 16, 2012 Hayes revealed in an interview with Evening Echo's'Downtown', she recorded a cover version of Wicked Game" for US Teen drama Pretty Little Liars, the song featured throughout her 2012 tour playlist. On 1 March 2012, gemmahayes.com confirmed her cover of "Wicked Game" would appear on Pretty Little Liars on 12 March and will be available to download as a single. The track was released after her fourth studio album Let It Break and before her fifth studio album release Bones+Longing. In March 2015, a video musical session was recorded playing this song at St. Patrick's Chapel – Irish Cultural Center, Paris. Chart positionIn January 2012, Hayes was asked to record a cover version of Chris Isaak"Wicked Game' for US teen drama'Pretty Little Liars'; the track appeared on US TV in March 2012. The track was released on iTunes on 12 March 2012; the song performed well in the charts peaking at #5 in Canada, #4 in Ireland, #3 in France and #1 in Sweden.
In 2013, German house producer Parra for Cuva released a cover version. The single was re-titled as "Wicked Games" in plural, it was first released on Beatport worldwide as a digital download in August 2013 a mainstream release as a digital downlo
300 Days at Sea
300 Days At Sea is the eighth studio album by Heather Nova, released in 2011. It was recorded in her home studio on a small island in Bermuda in 2010. Nova recorded nineteen tracks; the album was recorded by Felix Tod and David Ayers using only solar power. The album was produced with support of a crowdfunding project; the album went top 40 in five European countries on release, with reviews calling it Heather's best album since'Oyster', marked a return to the full band sound of the early albums. The first single was ` Higher Ground'. All tracks written by Heather Nova
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
Oyster is the second studio album by Heather Nova, released in 1994. All songs written by Heather Nova. "Walk This World" – 3:49 "Heal" – 3:55 "Island" – 6:20 "Throwing Fire at the Sun" – 5:57 "Maybe an Angel" – 5:08 "Sugar" – 5:34 "Truth and Bone" – 4:54 "Blue Black" – 4:36 "Walking Higher" – 4:12 "Light Years" – 4:49 "Verona" – 4:02 "Doubled Up" – 3:39 B Sides "Home" "Blind" "Walk This World" Heather Nova – acoustic guitar, vocals David Ayers – bass, electric guitar, 12 string guitar Nadia Lanman – cello Dean McCormick – percussion, drums Hossam Ramzy – percussion Bob Thompson – drums Youth – bass Felix Tod, Youth – producers David Bianco, Christopher Marc Potter, Paul Rabiger – engineers The album is dedicated to her first cousin once removed Signe Savannah, born the year of its release. The Song "Throwing Fire at the Sun" was used in an episode of the TV show Baywatch
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Indie rock is a genre of rock music that originated in the United States and United Kingdom in the 1970s. Used to describe independent record labels, the term became associated with the music they produced and was used interchangeably with alternative rock; as grunge and punk revival bands in the US and Britpop bands in the UK broke into the mainstream in the 1990s, it came to be used to identify those acts that retained an outsider and underground perspective. In the 2000s, as a result of changes in the music industry and the growing importance of the Internet, some indie rock acts began to enjoy commercial success, leading to questions about its meaningfulness as a term. Sometimes used interchangeably with "guitar pop rock", in the mid-1980s, the term "indie" began to be used to describe the music produced on punk and post-punk labels; some prominent indie rock record labels were founded during the 1980s. During the 1990s, grunge bands broke into the mainstream, the term "alternative" lost its original counter-cultural meaning.
The term "indie rock" became associated with the bands and genres that remained dedicated to their independent status. By the end of the 1990s, indie rock developed several subgenres and related styles, including lo-fi, noise pop, slowcore, post-rock, math rock. In the 2000s, changes in the music industry and in music technology enabled a new wave of indie rock bands to achieve mainstream success. In the early 2000s, a new group of bands that played a stripped-down, back-to-basics version of guitar rock emerged into the mainstream; the commercial breakthrough from these scenes was led by four bands: The Strokes, The White Stripes, The Hives and The Vines. Emo broke into mainstream culture in the early 2000s. By the end of the decade, the proliferation of indie bands was being referred to as "indie landfill"; the term indie rock, which comes from "independent," describes the small and low-budget labels on which it is released and the do-it-yourself attitude of the bands and artists involved. Although distribution deals are struck with major corporate companies, these labels and the bands they host have attempted to retain their autonomy, leaving them free to explore sounds and subjects of limited appeal to large, mainstream audiences.
The influences and styles of the artists have been diverse, including punk, post-punk and country. The terms "alternative rock" and "indie rock" were used interchangeably in the 1980s, but after many alternative bands followed Nirvana into the mainstream in the early 1990s, "indie rock" began to be used to describe those bands, working in a variety of styles, that did not pursue or achieve commercial success. Aesthetically speaking, indie rock is characterized as having a careful balance of pop accessibility with noise, experimentation with pop music formulae, sensitive lyrics masked by ironic posturing, a concern with "authenticity," and the depiction of a simple guy or girl. Allmusic identifies indie rock as including a number of "varying musical approaches compatible with mainstream tastes". Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge-influenced bands, through do-it-yourself experimental bands like Pavement, to punk-folk singers such as Ani DiFranco.
In fact, there is an everlasting list of subgenres of indie rock. Many countries have developed an extensive local indie scene, flourishing with bands with enough popularity to survive inside the respective country, but unknown elsewhere. However, there are still indie bands that start off locally, but attract an international audience. Indie rock is noted for having a high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of the feminist-informed Riot Grrrl music of acts like Bikini Kill, Bratmobile, 7 Year Bitch, Team Dresch and Huggy Bear. However, Cortney Harding pointed out that this sense of equality is not reflected in the number of women running indie labels; the BBC documentary Music for Misfits: The Story of Indie pinpoints the birth of indie as the 1977 self-publication of the Spiral Scratch EP by Manchester band Buzzcocks. Although Buzzcocks are classified as a punk band, it has been argued by the BBC and others that the publication of Spiral Scratch independently of a major label led to the coining of the name "indie".
"Indie pop" and "indie" were synonymous. In the mid-1980s, "indie" began to be used to describe the music produced on post-punk labels rather than the labels themselves; the indie rock scene in the US was prefigured by the college rock that dominated college radio playlists, which included key bands like R. E. M. from the US and The Smiths from the UK. These two bands rejected the dominant synthpop of the early 1980s, helped inspire guitar-based jangle pop. In the United States, the term was associated with the abrasive, distortion-heavy sounds of the Pixies, Hüsker Dü, Meat Puppets, Dinosaur Jr. and The Replacements. In the United Kingdom the C86 cassette, a 1986 NME compilation featuring Primal Scream, The Pastels, The Wedding Present and other bands, was a document of the UK indie scene at the start of 1986, it gave its name to the indie pop scene that followed, a major influence on the development of the British indie scene as a whole. Major precursors of indie pop included Postcard bands Josef K and Orange Juice, significant labels included Creation and Glass.
The Jesus and Mary Chain's sound combined the Velvet