Hans Uno Jonas Åkerlund is a Swedish director and drummer. He is best known for directing music videos, his video for Madonna's song "Ray of Light" won a Grammy Award for Best Music Video, Short Form, a record seven awards at 1998 MTV Video Music Awards, including the Video of the Year. In 2008 he won another Grammy Award, this time around for "Best Long Form Music Video" for another work with Madonna - directing "The Confessions Tour" DVD. In 2014 he won this Grammy Award again, this time for "Live Kisses" Paul McCartney concert film. Jonas Åkerlund, David Mallet and Bob Smeaton are the only directors to have won this award twice sharing the record for most wins in this category. Åkerlund was a member of the Swedish black metal band Bathory from 1983 to 1984. He directed Candlemass' first video "Bewitched", he first found fame as the main video director for Roxette. In 1997, he directed the acclaimed video for The Prodigy's "Smack My Bitch Up", which sparked controversy due to its depiction of drug use and nudity.
In 1998, he worked with Madonna for the song "Ray of Light", has since worked with acts such as Metallica, Christina Aguilera, U2, Blink-182, P!nk, Britney Spears, Lady Gaga. He directed the music video for the Smashing Pumpkins' "Try, Try", from which a short film entitled Try was spawned, he was the designer and photographer for the Roxette album Room Service in 2001. In 2002, his first full-length film, debuted. Åkerlund directed commercials for Swedish clothing retailer MQ and the re-imagining of the Devo song "Watch Us Work It" used in Dell Computers commercials. He is a long-time collaborator of Madonna, having worked on such music videos as "Music", "American Life", "Jump", he directed her documentary film I'm Going to Tell You a Secret and her concert special The Confessions Tour: Live from London. Among his more recent works were the controversial pornographic music video for Rammstein's "Pussy", the video for the song "Telephone" by Lady Gaga and Beyoncé, "Moves like Jagger" by Maroon 5 and Christina Aguilera, Duran Duran's single "Girl Panic!".Åkerlund's second movie, Small Apartments, went direct to DVD.
Per Gessle, of Roxette, was credited for the soundtrack. Try Spun Good Boys Madonna: I'm Going to Tell You a Secret Madonna: Confessions Tour – Live from London Madonna: The Confessions Tour - Horsemen Small Apartments Paul McCartney's Live Kisses - On the Run Tour: Beyoncé and Jay Z Taylor Swift: The 1989 World Tour Live Roxette Diaries Rammstein: Paris Lords of Chaos Polar Henry Keazor, Thorsten Wübbena: Video Thrills The Radio Star. Musikvideos: Geschichte, Analysen. Bielefeld, Germany, 2005, p. 117ss. P. 146ss. P. 448 2014 – Grammy – Best Music Film: Paul McCartney's "Live Kisses" 2011 – Echo Awards – Best National Video: Rammstein "Ich tu dir weh" 2010 – MVPA Awards – Best Collaboration: Lady Gaga feat Beyoncé "Telephone" 2009 – MVPA Awards – Lady Gaga "Paparazzi" 2008 – MVPA Awards – James Blunt "Same Mistake" 2008 – Grammy – Best Long Form Music Video: Madonna NBC Special "The Confessions Tour" 2008 – Silver Addy – Dell "Work it Out" 2007 – MVPA Hall of Fame – Prodigy "Smack My Bitch Up" 2004 – MVPA Awards – Robbie Williams "Come Undone" 1999 – Grammy – Best Short Form Music Video: Madonna "Ray of Light" 1998 – MTV Video Music Award – Madonna "Ray of Light" 1998 – MTV Video Music Award – Best Dance Video: The Prodigy "Smack My Bitch Up" Jonas Åkerlund on IMDb Jonas Åkerlund at the Swedish Film Database Jonas Åkerlund at the MVDbase.com CNN interview with Jonas Åkerlund Jonas Åkerlund official web page R.
A. F. official web page Edwards, Gavin. "Video Visionary Jonas Åkerlund Pushes the Limits". Wired. Retrieved 24 July 2012
"Lazy Days" is a song recorded by English singer-songwriter Robbie Williams. It was released in the United Kingdom on 14 July 1997 as the second single from his debut studio album Life thru a Lens; the song became a top ten hit in the United Kingdom. A demo version of "Lazy Days" is included as a B Side on the "Millennium" CD2 single under the title "Lazy Days", it has significant differences in lyrics. According to Williams, the song is about being young, being optimistic on the future, not being afraid of committing mistakes. Williams took a day out of rehab to shoot the video for the song, he explained it was "a bonkers video,'cause that's how my head was at the time, I think". Williams explained that Lazy days was a song written by Guy Chambers, during his spell in the Britpop band `The Lemon Trees`. Williams thought it was an amazing song, but made some changes on the lyrics, including hooks in arrangement and music; these are the formats and track listings of major single releases of "Lazy Days".
UK CD1 "Lazy Days" – 3:53 "Teenage Millionare" – 3:09 "Falling in Bed" – 3:28UK CD2 "Lazy Days" – 3:53 "She Makes Me High" – 3:23 "Ev'ry Time We Say Goodbye" – 3:03 Lyrics of this song at MetroLyrics
Old Before I Die
"Old Before I Die" is a 1997 song by Robbie Williams, the first single to be taken from his debut album, Life thru a Lens. The Oasis-influenced song became a number two hit in the United Kingdom when it was released in April that year; the music video features Williams performing for the camera with ageing rock stars as his backing band, some fade-ins by the cameraman. There are shots of Williams flying through the air. UK CD1"Old Before I Die" – 3:50 "Better Days" – 3:30 "Average B-Side" – 2:58UK CD2"Old Before I Die" – 3:50 "Making Plans for Nigel" – 4:05 "Kooks" – 2:36Holland"Old Before I Die" – 3:50 "Kooks" – 2:36 "Average B-Side" – 2:58 "Making Plans for Nigel" – 4:05 "Better Days" – 3:30 Mexican singer Alejandra Guzmán recorded a cover of the song titled "Quiero Vivir", included it on her tenth studio album, Soy; the track was produced by Desmond Child. The single did not chart in United States. Lyrics of this song at MetroLyrics
Let Me Entertain You (Robbie Williams song)
"Let Me Entertain You" is a single by Robbie Williams, released as the fifth and final single from his debut solo studio album Life Thru a Lens. It was written by Guy Chambers. In March 1998, the track peaked at No 3 in the UK chart, it is certified Gold for sales of over 400,000 copies. Williams and Chambers were inspired to write a'Who-esque' song after watching the Rolling Stones film Rock and Roll Circus together."When we started writing the demo there was a furious jungle beat underneath it. It was so hardcore it got me excited, I still get excited listening to it now. It's not heavy metal, it's more like camp rock opera!"The lyrics are innuendoes and double entendre, telling the story of a man trying to persuade someone to cheat on their boyfriend with him. Although the sex of this person is never mentioned, it is worth noting that the lyrics include the phrase mon cher, which means my dear only when referring to a male. In a 2010 interview, Williams was quoted as saying "An awful lot of gay pop stars pretend to be straight.
I'm going to start a movement of straight pop stars pretending to be gay." The 2004 track on the Greatest Hits album differs from the original 1998 release. The song has been subtly remixed, Williams's vocals during the instrumental have been removed entirely; this remix was featured on the In and Out of Consciousness compilation album in 2010. The original track however, is still featured on Vevo channel. Directed by frequent collaborator Vaughan Arnell, the video was recorded on 20 February 1998, the day after Williams' positively received duet with Tom Jones at the Brit Awards; the positive reception from the audience and the general public gave Williams the confidence to perform in the eccentric manner seen in the video. The Robbie Williams Band are dressed as members of the band KISS. Williams's makeup is similar to Gene Simmons' on-stage persona, the Demon, while the outfit Williams wears is nearly identical to a stage costume worn by Simmons' bandmate Paul Stanley. In doing so, the video has been called a "stylistic appropriation" of KISS and a spoof of 1970s rock in general, while displaying its own characteristics of camp and self-parody.
After Simmons filed a lawsuit against King Diamond for using the makeup design in the 1980s, Williams had concerns over KISS taking legal action against "Let Me Entertain You", but felt the makeup was necessary to get into character. No legal action was taken. "Let Me Entertain You" became Williams' concert opener for most of his shows throughout his career. He enjoys opening shows with high energy performances of the song "because of what happens to the audience... this is going to make you do this right at the beginning of the set." To date, Williams has given more than 300 live performances of the song. Williams performed the song for the Brit Awards' opening act in 1999, as the opening act for the Diamond Jubilee Concert as part of Her Majesty Queen Elizabeth II's Diamond Jubilee celebrations in 2012 in front of an audience of an estimated 500,000, he performed the song at the Live 8 Concert at Hyde Park in 2005, to high critical acclaim. In a BBC documentary about the event shown that Christmas, Richard Curtis described the performance as ecstatic, comparing Williams to "a man who hasn't had sex for two years coming."
David Baddiel likened the set to Queen's iconic performance at Live Aid in 1985, Williams himself commented that "the audience just went ballistic." When interviewed, members of the audience commented that Williams's performance was the first time of the night they could hear the audience singing at the back of the field. As with many of Williams' live performances, he improvises with the melody and changes the lyrics to suit the venue or event. One notable example of this was during the Progress Live tour in 2011 following his reconciliation with his former band Take That after 15 years apart; the lyric "You're my rock of empathy" was replaced with "Hello remember me?" Williams sings the chorus himself relying on the audience and backing vocalists to carry the song for him as he shouts words of encouragement for the audience. However, on the Swings Both Ways Arena Tour in 2014, Williams performed a Jazz arrangement of the song, instead singing Let Me Enter You to individual members of the audience during the chorus.
A popular pop-rock anthem in most European countries, the song has been covered live by several artists, including Bon Jovi and the cast of Duets. Five singers have performed the song on Syco's talent show The X Factor; the song was found in a survey by Mind to be one of the top three songs for happiness. It has been called arguably one of the most well-known songs of the 1990s."Let Me Entertain You" is played during news reports or interviews with Williams, is played to welcome him to the stage during chat shows and other personal appearances. It was used as the title of a best-selling biography of Williams; the song is not only used in association with Williams. It was the only song featured in video game Actua Soccer 3, the song played at the end of the football match in Mean Machine and was featured in a UK commercial for the Sega Dreamcast. After his 2009 album Reality Killed the Video Star received mixed reviews, Williams joked he should have titled the album Let Me Underwhelm You; the song has been covered by other artists, including VoiceMale, who inserted lyrics from Steppenwolf's "Magic Carpet Ride".
These are the formats and track listings of major single releases of "Let Me Entertain You". UK CD1 "Let Me Entertain You" – 4:24 "The Full Monty Medley" featuring Tom Jones – 5:28 "I Wouldn't Normally Do This Kind of Thing" – 3:07 "I Am the Res-Erection" – 3:48UK CD2(Relea
Strong (Robbie Williams song)
"Strong" is a song by English recording artist Robbie Williams. It was released on 15 March 1999 as the third single from his second studio album, I've Been Expecting You; the song managed to break into the top five in the United Kingdom. The B-side is the live version of "Let Me Entertain You" recorded at the 1999 Brit Awards, the performance was included on the single in the enhanced section. In June 2017, Williams performed at the One Love Manchester benefit concert, in aid of the Manchester Arena bombing victims and as a display of the city's unity against terrorism. Williams opened and closed his set by leading a 55,000-strong terrace chant of the song's chorus, changing the lyrics to "Manchester we're strong, we're strong, we're strong, and we're still singing our songs, our songs, our songs!". On the final night of Williams's 2003 Knebworth House concerts, 125,000 ticketholders sang Strong to set the world record for Most Karaoke Participants. Williams and his audience held the record until 2009, when 160,000 people sang Friends in Low Places by Garth Brooks whilst in attendance at the 2009 NASCAR Sharpie 500 race.
"Strong" was written by Williams. It was inspired by some of his most hardcore fans, Williams confessed, "scared the living daylights out of ". "I just wanted them to understand I'm not being rude, but I'm feeling a bit scared of everything," he said. The video is a compilation of on-tour footage, including many live performances, Williams with his nephew, Williams on stage with his dad, Williams messing about; the song became Williams' seventh top five single in the United Kingdom when it was released in March 1999, the track reached the top ten in New Zealand. In 2015, Lower Than Atlantis released a cover of the song on the 2015 reissue of their self-titled album. "Strong" – 4:39 "Let Me Entertain You" – 4:44 "Happy Song" – 2:53 "Let Me Entertain You" – 5:40
Folk rock is a hybrid music genre combining elements of folk music and rock music, which arose in the United States and the United Kingdom in the mid-1960s. In the U. S. folk rock emerged from the folk music revival and the influence that the Beatles and other British Invasion bands had on members of that movement. Performers such as Bob Dylan and the Byrds—several of whose members had earlier played in folk ensembles—attempted to blend the sounds of rock with their preexisting folk repertoire, adopting the use of electric instrumentation and drums in a way discouraged in the U. S. folk community. The term "folk rock" was used in the U. S. music press in June 1965 to describe the Byrds' music. The commercial success of the Byrds' cover version of Dylan's "Mr. Tambourine Man" and their debut album of the same name, along with Dylan's own recordings with rock instrumentation—on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde —encouraged other folk acts, such as Simon & Garfunkel, to use electric backing on their records and new groups, such as Buffalo Springfield, to form.
Dylan's controversial appearance at the Newport Folk Festival on 25 July 1965, where he was backed by an electric band, was a pivotal moment in the development of the genre. During the late 1960s in Britain and Europe, a distinct, eclectic British folk rock style was created by Pentangle, Fairport Convention and Alan Stivell. Inspired by British psychedelic folk and the North American style of folk rock, British folk rock bands began to incorporate elements of traditional British folk music into their repertoire, leading to other variants, including the overtly English folk rock of the Albion Band and Celtic rock. In its earliest and narrowest sense, the term "folk rock" refers to the blending of elements of folk music and rock music, which arose in the U. S. and UK in the mid-1960s. The genre was pioneered by the Byrds, who began playing traditional folk music and songs by Bob Dylan with rock instrumentation, in a style influenced by the Beatles and other British Invasion bands; the term "folk rock" was coined by the U.
S. music press to describe the Byrds' music in June 1965, the month in which the band's debut album was issued. Dylan contributed to the creation of the genre, with his recordings utilizing rock instrumentation on the albums Bringing It All Back Home, Highway 61 Revisited, Blonde on Blonde. In a broader sense, folk rock encompasses inspired musical genres and movements in different regions of the world. Folk rock may lean more towards either folk or rock in instrumentation and vocal style, choice of material. While the original genre draws on music of Europe and North America, there is no clear delineation of which other culture's music might be included as influences; the term is not associated with blues-based rock music, African American music, Cajun-based rock music, nor music with non-European folk roots. There are some exceptions; the American folk-music revival began during the 1940s. In 1948, Seeger formed the Weavers, whose mainstream popularity set the stage for the folk revival of the 1950s and early 1960s and served to bridge the gap between folk, popular music, topical song.
The Weavers' sound and repertoire of traditional folk material and topical songs directly inspired the Kingston Trio, a three-piece folk group who came to prominence in 1958 with their hit recording of "Tom Dooley". The Kingston Trio provided the template for a flood of "collegiate folk" groups between 1958 and 1962. At the same time as these "collegiate folk" vocal groups came to national prominence, a second group of urban folk revivalists, influenced by the music and guitar picking styles of folk and blues artist such as Woody Guthrie, Lead Belly, Brownie McGhee, Josh White came to the fore. Many of these urban revivalists were influenced by recordings of traditional American music from the 1920s and 1930s, reissued by Folkways Records. While this urban folk revival flourished in many cities, New York City, with its burgeoning Greenwich Village coffeehouse scene and population of topical folk singers, was regarded as the centre of the movement. Out of this fertile environment came such folk-protest luminaries as Bob Dylan, Tom Paxton, Phil Ochs, Peter and Mary, many of whom would transition into folk rock performers as the 1960s progressed.
The vast majority of the urban folk revivalists shared a disdain for the values of mainstream American mass culture and led many folk singers to begin composing their own "protest" material. The influence of this folk-protest movement would manifest itself in the sociopolitical lyrics and mildly anti-establishment sentiments of many folk rock songs, including hit singles such as "Eve of Destruction", "Like a Rolling Stone", "For What It's Worth", "Let's Live for Today". During the 1950s and early 1960s in the UK, a parallel folk revival referred to as the second British folk revival, was led by folk singers Ewan MacColl and Bert Lloyd. Both viewed British folk music as a vehicle for leftist political concepts and an antidote to the American-dominated popular music of the time. However, it wasn't until 1956 and the advent of the skiffle craze that the British folk revival crossed over into the mainstream and connected with British youth culture. Skiffle renewed popularity of folk music forms in Britain and led directly to the progressive folk movement and the attendant B
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