Olympic Studios is an early 20th-century building in Barnes, which, after four years of closure, re-opened on 14 October 2013 as the new home for the Olympic Studios cinema. As well as a two-screen cinema, the building includes a café and dining room, a members' club and a recording studio; the building at 117 Church Road in Barnes was constructed in 1906 as Byfeld Hall, a theatre for the Barnes Repertory Company, was a cinema for much of the first half of the century, before becoming a television studio in the late 1950s. In 1965 it was purchased by Olympic Sound Studios and became a renowned independent commercial recording studio, best known for the many legendary rock and pop recordings made there from the late 1960s onwards, it has been described as the "go-to studio for many of rock and pop's leading lights in the music industry's golden era, from the Rolling Stones and Jimi Hendrix to Led Zeppelin and the Beatles", as being of the same importance as Abbey Road Studios. The studio's sound mixing desks became famous in their own right, were manufactured commercially.
The conversion from film to recording studio was undertaken by architect Robertson Grant and the acoustics completed by Keith Grant and Russel Pettinger. The studios won Music Week magazine's award for best recording studio five times. After forty years and a succession of owners, the studio's earlier facilities were closed by the EMI and Virgin Group in 2009. However, Olympic has now been converted into an independent local cinema incorporating reminders of its own history, including a new studio designed with the help of original members of the studio's staff. In line with its audio tradition, Olympic's cinema is now the only one in London employing a new form of state-of-the-art Flare Audio cinema sound. After its earliest days, the building became a theatre again in the 1920s: actors who played there included John Gielgud and Claude Rains. Between the 1930s and the postwar era, it returned to its original function as a cinema. In its first decade it was notable for being one of the venues associated with the bioscope, an early form of cinema combined with music hall and large instrumentation.
In the 1950s the building became television production studios. The first home of Olympic Sound Studios was in central London in the late 1950s, it was owned by Angus McKenzie. McKenzie took a lease on a derelict synagogue building at Carlton Street, off Baker Street in London's West End. In conjunction with Richard "Dick" Swettenham, McKenzie opened Olympic's Studio One with a tube recording console from Olympia Studio; the studio first came to prominence in 1958. In 1962 Terry Allen joined the company as an electronic engineer, assisting Dick Swettenham with his new transistorised sound desk. John Timperley's assistant was Roger Savage, who gained a reputation as a good sound balancer. Terry Allen soon became studio manager and was instructed by Angus McKenzie to dismiss Timperley late in 1962. Keith Grant had worked at Olympic on a casual basis for some time, was offered the position of senior sound engineer late in 1962. Dick Swettenham designed the first professional transistorised desk in the world, installed into Studio One during 1960, along with the first Four track tape recorder in England.
Apart from Roger Savage, several other young staff gained their start at Olympic. Gus Dudgeon began as a tape operator and when he left Olympic became associated with Elton John, as his producer. Another successful employee was Michael Ross-Trevor, who joined CBS Records, at the start of a long career in classical music recording. Studio One was used by many influential British groups including the Yardbirds, the Jimi Hendrix Experience, Alexis Korner and Graham Bond; the Rolling Stones recorded their first single "Come On" at Olympic. Olympic was a popular studio with Decca, EMI, Pye and Philips recording A&R staff, as well as hosting London Weekend Television's music recordings. After being notified in 1964 that the lease on the Carlton Street premises would not be renewed, in 1965 McKenzie sold his share of the business to Cliff Adams and John Shakespeare, they moved it to new premises in Barnes, with the guidance of Grant, when the lease ran out in 1966. Keith Grant oversaw the development of the new studios, bringing in his father Robertson Grant, an architect, to assist.
Engineer Eddie Kramer recalled: "Olympic Studios in 1967 was at the cutting edge. We were innovative and of course we had, I think, the best console in England and the world at the time". "We were ahead in terms of design." The Rolling Stones were among the first clients of the new Olympic Studios in Barnes, consecutively recording six of their albums there between 1966 and 1972. The Beatles worked at the studio to record the original tracks of "All You Need Is Love", having been happy with their time there recording "Baby, You're a Rich Man". Jimi Hendrix recorded for his Are You Experienced album at Olympic, of his Axis: Bold as Love and Electric Ladyland albums, all of the former and a substantial part of the latter were recorded at the studio; the Who recorded their albums Who's Next and Who Are You. It was used extensively by Led Zeppelin, who recorded tracks there for all of their studio albums up to and including Physical Graffiti in 1975. In the same year Queen used the studio for their album A Night at the Opera while David Bowie used the studio
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
Larrabee Sound Studios
Larrabee Sound Studios is a collection of recording studios in Hollywood, founded by Jackie Mills, who in 1980 co-owned it. By the early 2000s it comprised seven studios in three different locations, was owned by Kevin Mills. By that time the studio was cited by Billboard as one of the top studios in the US, was equipped with Solid State Logic and AMS Neve consoles. Jaycen Joshua Dave Pensado Manny Marroquin
Metropolis Group is a music production and entertainment industry company established in 1989 by Gary Langan, Carey Taylor and Karin Clayton. It is located in the Powerhouse, a Grade II listed building, at 70 Chiswick High Road in Chiswick, England. Over the last twenty years the group has expanded and now consists of three divisions: Metropolis Studios, Metropolis Mastering, Digital Media/Productions. Metropolis Group was bought out on 31 May 2013 by'MLML' by Kainne Clements, The Group in 2017 gained a new CEO Richard Connell, a former Sony Music executive; the Powerhouse was built in 1901 by a young architect William Curtis Green to power the trams of West London. It had a 260-ft. High steel smoke-stack. On the façade, are two large female figures that represent `electricity’ and `locomotion’; this substantial building was conceived to be so large as to prevent any of the houses in the neighbourhood suffering from the vibration and dust caused by the steam powered generators. Due to competition from Lots Road power station in Chelsea, power was only generated until 1920 when the building was decommissioned and stripped of its equipment.
Being used as a storage facility, the Powerhouse fell into disrepair. In 1962 the trolley bus service was closed, the chimney was demolished in 1966. London Transport decided to redevelop the site; this led to an outcry and the Victorian Society campaigned for the protection of the building from the developers, which in turn led to the building being listed in 1975, one of the first Victorian buildings to be so nominated, the first, built in the 20th century. In 1985, the upper part of the building was converted into flats, including a penthouse, split over three levels. In 1989, after a large scale redevelopment, the lower part of the building was converted into a recording studios, the home of Metropolis Group. Metropolis Studios consists of four floors, 5 recording and mixing studios and four production rooms, it has a concrete and metal atrium, with steel and render in other rooms. In the studios, the design engineers have placed obtuse angle to refract sound. Studio B was used as the London mixing studio for Mark Ronson, when he produced the'Back to Black' album for Amy Winehouse.
The studios has been used in the past by Queen, Michael Jackson, U2, Lady Gaga, Adele and Lauryn Hill. Official Metropolis Group website
London Records is a British record label that marketed records in the United States and Latin America from 1947 to 1979 before becoming semi-independent. London arose from the split in ownership between the American branches of Decca Records; the American branch of London Records released British Decca records in the U. S. since British Decca could not use the "Decca" name there. The label was noted for classical albums made in state-of-the-art stereophonic sound, such artists as Georg Solti, Joan Sutherland and Luciano Pavarotti; the London name was used by British Decca in the UK market for releases taken from American labels which British Decca licensed, such as Imperial, Dot, Atlantic and Sun, the first two UK releases from Motown. By the 1960s more licensing deals had been made with Big Top, Parrot, Hi, subsidiary labels were London Atlantic, London Dot and London Monument. An unusual feature was the letter code in the numbering system. From the late 1950s until 1973, the label bore the logo "London American Recordings", on Radio Luxembourg it was known as "London American".
In America, the label was best known as the American imprint of the pre–1971 recordings of the Rolling Stones. The label originally issued some early LPs and singles by Texas-based band ZZ Top. In the late 1970s, London signed deals with Bomp! Records and with Big Sound in Connecticut, U. S; this changed the label in the eyes of many from a backwater into something a little more "edgy" compared to the pedestrian contemporary releases from parent company Decca. The president of London Records in the 1970s was D. H. Tollerbond. After British Decca was acquired by PolyGram in 1979, London followed a more independent course with subsidiary labels such as Slash, Pete Tong's Essential Records and FFRR. Universal Music Group acquired PolyGram in 1998. In the 90's Tracy Bennet became President and Colin Bell, Managing Director; when Ames moved to the Warner Music Group, he took the label with him, so all of London's recent back catalogue was acquired by Warner, which acquired the London name and trademark from Decca.
The name is still used for UK-based artists, for ex-Factory Records artists. Notable artists released by that incarnation of London, called London Records 90, include New Order, Happy Mondays, A, Shakespears Sister. After PolyGram took over British Decca, classical-music albums recorded by British Decca continued to be released on the London label in the U. S. with a logo similar to the Decca classical label logo, until American Decca owner Universal bought British Decca owner PolyGram in 1998, after which they were all reissued on the original British Decca label in the U. S; the London pop music catalogue owned by Universal Music is now managed by Polydor Records, with US distribution handled by Mercury Records. Decca Records had a recording studio in West London. In 2010, Universal Music reclaimed ownership of the London Records trademark. On 1 July 2011 Universal Music reclaimed the London Records name and relaunched it under the executive team of Nick Raphael and Jo Charrington who together ran Epic Records for Sony Music Entertainment since 2001.
Both had started their careers at London Records in the Ames era in the 1990s. When Nick Raphael became president of Capitol Records's UK division in 2013, London Records moved there, where it operates as a subsidiary. In July 2017, Because Music announced that it would acquire Warner Music 90, the division of WMG that reissued most London Records artists from the PolyGram era; because completed the deal in August 2017, which includes the rights to over fifty London artists. Warner Music 90 will be rebranded as London Music Stream; because would acquire ten French performers including J. J. Cale's post-Mercury/Shelter catalog with the exception of The Road to Escondido, Mano Negra and The Beta Band from Warners in separate deals. With Because Music being distributed by Caroline Distribution in 2019, this returns London Music Stream to Universal, albeit as an independent label. London Records distributed labels throughout its existence. Among the more familiar labels are: Other subsidiaries include: Astra, All Boy, Ashley, Boot, Best, Brite Leaf, Cannon, Cedwicke, CGD, Chicory, Circle, Collier, Country Capers, Deaux, Domain, Edit, Folk Sing, G.
S. P. George, Great, Gulf, Hi Country, Imco, Jay Boy, Johen, K&G, KAB, Kingfish, LeJoint, London International, Louis, M. O. C. Mach, Magna Glide, Medway, Nefi, PAC, Pawn, Pen, P-K-M, Renegade, Ritz, Running Bear, Sahara, SCA, Shar-Dee, Siana, Splash, Sultan, Tarheel, Terrace, Tilt, Unison, Watch and XYZ Marion Menswear Gay Dad Onslaught Back to the Planet Banderas Chumbawamba East 17 The Yes/No People Voice of the Beehiv
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
All Saints (All Saints album)
All Saints is the debut studio album by British girl band All Saints. It was released on 24 November 1997 by London Records. All Saints worked with several producers on the album. Upon its release, the album received mixed reviews from music critics, many critics praised the choice of singles and the group's musical direction; the album spawned three number-one singles in the United Kingdom: "Never Ever", the double A-side "Under the Bridge" and "Lady Marmalade", "Bootie Call", as well as "I Know Where It's At" and "War of Nerves". All Saints received mixed reviews from music critics. Many critics praised the choice of singles and the group's musical direction, while some did not enjoy the music direction and felt they lacked personality. Nick Butler from Sputnikmusic gave it a mixed review, he felt that the musical direction and sound "hasn't aged well" but praised the group's creativity, where the group were more pleasurable than their all girl group rivals Spice Girls, as he stated they were "considered the credible alternative to the Spice Girls."
But due to comparisons with the Spice Girls, he stated "I still enjoy the singles a lot when I hear them, but if there was a war between the two groups, All Saints lost it."Stephen Thomas Erlewine from AllMusic did not rate the album, but gave it a mixed review as well. Through the rival with the Spice Girls, he felt All Saints lacked "personality", but praised their music direction by saying "All four members have better voices than the Spices, they all have a hand in writing at least one of the songs on their eponymous debut More they and their producers have a better sense of contemporary dance trends – there are real hip-hop and club rhythms throughout the record " He highlighted "Never Ever", "I Know Where It's At" and "Lady Marmalade" as the album's best tracks. In the United Kingdom the album debuted at number twelve for the week beginning 6 December 1997, before progressing to a peak of number two on 17 January 1998 where it remained for three consecutive weeks, it spent a total of 66 weeks on the chart.
As of April 2016, the album has sold 1,469,771 copies in the United Kingdom. It peaked within the top forty in numerous countries and reached the top ten in Switzerland, New Zealand and Canada; the album was certified Platinum in the United States for shipments of over 1 million units. The group first released the single "I Know Where It's At"; the song was written by member Shaznay Lewis, with usual writing partner Karl Gordon and contained a sample of Steely Dan's "The Fez". It was released on 18 August 1997 as the first single from the group, while a re-release was on 13 January 1998. Commercially, the song proved to be a success worldwide, peaking in the top twenty in countries including Canada, United Kingdom, New Zealand, Australia and France. A music video was shot for the single, where it featured the group in an urban setting; the group's second single was "Never Ever", written by Lewis and the song's producer, Sean Mather. It was released on 19 November 1997 worldwide, while it was released on 7 July 1998 in North America.
The song remains the group's most successful and memorable hit, where the song peaked at number one in Australia, New Zealand and United Kingdom, while it peaked in the top ten in countries including Ireland, Canada, The Netherlands, Switzerland and Austria. The song peaked at number four on the US Billboard Hot 100, becoming the group's highest peaking single in that country; the group released a double A-Side single with "Under the Bridge" and "Lady Marmalade". Both versions were released on the studio album. Both of the singles were cover versions, however they remain unique because both cover songs are lyrically altered from the original; the songs were released on 27 April 1998 worldwide, including North America on that date. Though it was released as a double A-Side single, "Under the Bridge" had charted from the single, where it managed to chart in the top twenty in countries including United Kingdom, Canada, New Zealand and Sweden. However, "Lady Marmalade" charted as a solo single as well, but did not perform as well as the conjoined single, where it charted in Switzerland and France.
The group's fourth single was "Bootie Call". The song was released on 31 August 1998 in European countries only, it was the group's third consecutive number one in the United Kingdom charting in Belgium, The Netherlands, Sweden. A music video was shot for the single; the group's fifth and final single was "War of Nerves". The song was to be only released in the United Kingdom on 23 November 1998, but was released in New Zealand; the song didn't have as much success but charted in New Zealand and the United Kingdom. A music video was shot; the song "Let's Get Started" was released in 1995 with only members Melanie Blatt and Shaznay Lewis under the name All Saints 188.8.131.52. However, when the group formed with sisters Nicole Appleton and Natalie Appleton, they renamed the group All Saints and the title of the song was altered to "If You Wanna Party" and featured on the album. However, both "Let's Get Started" and "If You Wanna Party" are the same song, but with different titles; the song was re-recorded with the Appleton sisters and was re-released in Japan only in 1997.
The song had a music video, exclusive to Japan. Official site