Live at the Isle of Wight Festival 1970 (The Who album)
Live at the Isle of Wight Festival is a double live album by The Who, recorded at the Isle of Wight Festival on 29 August 1970, released in 1996. A DVD of the concert was released for the first time in 1996; the Who were one year and three months into their Tommy tour when they played their second engagement at the Isle of Wight Festival. As in 1969, they played most of their famous rock opera, which by this time was quite familiar to the festival crowd. Huge spotlights bathed the audience of some 600,000 attendees, as The Who's tour manager John Woolf recalls, attracted "every moth and flying nocturnal animal on the island"; the Who started this famous concert at 2:00 A. M. By August 1970, Pete Townshend was introducing new songs to the setlist including "Water", "I Don't Even Know Myself" and "Naked Eye"; these songs, which were being recorded at the time of the festival, were intended for an upcoming project known as Lifehouse. Although Lifehouse was abandoned, the sessions paved the way to the Who's classic album Who's Next.
The Who performed some live staples such as "Substitute", "My Generation", "Magic Bus", "I Can't Explain", the perennial covers of "Shakin' All Over" and "Summertime Blues". All songs were written by Pete Townshend except. Disc oneDisc two Roger Daltrey: Lead vocals and harmonica. John Entwistle: Bass guitar and vocals. Keith Moon: Drums and vocals Pete Townshend: Lead guitar and vocals
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
In the music industry, a single is a type of release a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats. In most cases, a single is a song, released separately from an album, although it also appears on an album; these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular. In other cases a recording released. Despite being referred to as a single, singles can include up to as many as three tracks; the biggest digital music distributor, iTunes Store, accepts as many as three tracks less than ten minutes each as a single, as does popular music player Spotify. Any more than three tracks on a musical release or thirty minutes in total running time is either an extended play or, if over six tracks long, an album; when mainstream music was purchased via vinyl records, singles would be released double-sided.
That is to say, they were released with an A-side and B-side, on which two singles would be released, one on each side. Moreover, only the most popular songs from a released album would be released as a single. In more contemporary forms of music consumption, artists release most, if not all, of the tracks on an album as singles; the basic specifications of the music single were set in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercially produced musical recordings. Gramophone discs were manufactured in several sizes. By about 1910, the 10-inch, 78 rpm shellac disc had become the most used format; the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The crude disc-cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, a high rotation speed was necessary to achieve acceptable recording and playback fidelity.
78 rpm was chosen as the standard because of the introduction of the electrically powered, synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm. With these factors applied to the 10-inch format and performers tailored their output to fit the new medium; the 3-minute single remained the standard into the 1960s, when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recorded songs. The breakthrough came with Bob Dylan's "Like a Rolling Stone". Although CBS tried to make the record more "radio friendly" by cutting the performance into halves, separating them between the two sides of the vinyl disc, both Dylan and his fans demanded that the full six-minute take be placed on one side, that radio stations play the song in its entirety; as digital downloading and audio streaming have become more prevalent, it has become possible for every track on an album to be available separately.
The concept of a single for an album has been retained as an identification of a more promoted or more popular song within an album collection. The demand for music downloads skyrocketed after the launch of Apple's iTunes Store in January 2001 and the creation of portable music and digital audio players such as the iPod. In September 1997, with the release of Duran Duran's "Electric Barbarella" for paid downloads, Capitol Records became the first major label to sell a digital single from a well-known artist. Geffen Records released Aerosmith's "Head First" digitally for free. In 2004, Recording Industry Association of America introduced digital single certification due to significant sales of digital formats, with Gwen Stefani's "Hollaback Girl" becoming RIAA's first platinum digital single. In 2013, RIAA incorporated on-demand streams into the digital single certification. Single sales in the United Kingdom reached an all-time low in January 2005, as the popularity of the compact disc was overtaken by the then-unofficial medium of the music download.
Recognizing this, On 17 April 2005, Official UK Singles Chart added the download format to the existing format of physical CD singles. Gnarls Barkley was the first act to reach No.1 on this chart through downloads alone in April 2006, for their debut single "Crazy", released physically the following week. On 1 January 2007 digital downloads became eligible from the point of release, without the need for an accompanying physical. Sales improved in the following years, reaching a record high in 2008 that still proceeded to be overtaken in 2009, 2010 and 2011. Singles have been issued in various formats, including 7-inch, 10-inch, 12-inch vinyl discs. Other, less common, formats include singles on Digital Compact Cassette, DVD, LD, as well as many non-standard sizes of vinyl disc; the most common form of the vinyl single is the 45 or 7-inch. The names are derived from its play speed, 45 rpm, the standard diameter, 7 inches; the 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs.
The first 45
Condé Nast Inc. is an American mass media company founded in 1909 by Condé Montrose Nast, based at One World Trade Center and owned by Advance Publications. The company attracts more than 164 million consumers across its 19 brands and media: Allure, Architectural Digest, Ars Technica, Bon Appétit, Condé Nast Traveler, Glamour, Golf Digest, GQ, Self, Teen Vogue, The New Yorker, Vanity Fair, Vogue, W and Wired. Robert A. Sauerberg Jr. is Condé Nast's current chief president. US Vogue editor-in-chief Anna Wintour serves as the current artistic director of Condé Nast; the company launched Condé Nast Entertainment in 2011 to develop film and digital video programming. Condé Montrose Nast, a New York City-born publisher, launched his magazine empire in 1909 with the purchase of Vogue, first created in 1892 as a New York weekly journal of society and fashion news. At first, Nast published the magazine under Vogue Company and did not incorporate Condé Nast until 1923, he had a flair for nurturing elite readers as well as advertisers and upgraded Vogue, sending the magazine on its path of becoming a top fashion authority.
Nast's portfolio expanded to include House & Garden, Vanity Fair and American Golfer. The company introduced British Vogue in 1916, Condé Nast became the first publisher of an overseas edition of an existing magazine. Condé Nast is considered to be the originator of the "class publication," a type of magazine focused on a particular social group or interest instead of targeting the largest possible readership, its magazines focus on a wide range of subjects, including travel, home and other interests, with fashion the larger portion of the company's focus. Nast opened a printing press in 1924, which closed in 1964 to make way for more centrally located sites capable of producing higher volumes. During the Great Depression, Condé Nast introduced innovative typography and color. Vogue's first full color photograph was featured on the cover in 1932, marking the year when Condé Nast began replacing fashion drawings on covers with photo illustrations―an innovative move at the time. Glamour, launched in 1939, was the last magazine introduced to the company by Nast, who died in 1942.
In 1959, Samuel I. Newhouse bought Condé Nast for US$5 million as an anniversary gift for his wife Mitzi, who loved Vogue, he merged it with the held holding company Advance Publications. His son, S. I. Newhouse, Jr. known as "Si," became chairman of Condé Nast in 1975. The Newhouse era at Condé Nast launched a period of acquisitions, overhauls of existing magazines and the founding of new publications. In January 2000, Condé Nast moved from 350 Madison Avenue to 4 Times Square, which at the time was the first skyscraper built in New York City since 1992 and boasted a Frank Gehry cafeteria; the move was viewed as contributing to the transformation of Times Square. In the same year, Condé Nast purchased Fairchild Publications, home to W and WWD, from the Walt Disney Company. In 2001, Condé Nast bought Golf Digest and Golf World from The New York Times Company for US$435 million. On October 5, 2009, Condé Nast announced the closure of three of its publications: Cookie, Modern Bride, Elegant Bride.
Gourmet ceased monthly publication with its November 2009 issue. In print, Gourmet continues in the form of special editions on cookbooks. Other Condé Nast titles were shut down as well; the company folded the women's magazine Jane with its August issue in 2007 and shut down its website. One of Condé Nast's oldest titles, the American edition of House and Garden, ceased publication after the December 2007 issue. Portfolio and Domino were folded as well. Condé Nast has made some notable acquisitions. On October 31, 2006, Condé Nast acquired the content aggregation site Reddit, spun off as a wholly owned subsidiary in September 2011. On May 20, 2008, the company announced its acquisition of a popular technology-oriented website, Ars Technica. In July 2010, Robert Sauerberg became Condé Nast's president. In May 2011, Condé Nast was the first major publisher to deliver subscriptions for the iPad, starting with The New Yorker. In the same month, Next Issue Media, a joint venture formed by five U. S. publishers including Condé Nast, announced subscriptions for Android devices available for the Samsung Galaxy Tab.
In June 2011, Condé Nast announced that it would relocate its headquarters to One World Trade Center in 2015. In September 2011, Condé Nast said; the company launched Conde Nast Entertainment in 2011 to develop film and digital video programming. In May 2013, CNÉ's Digital Video Network debuted, featuring web series for such publications as Glamour and GQ. Wired joined the Digital Video Network with the announcement of five original web series including the National Security Agency satire Codefellas and the animated advice series Mister Know-It-All. In late October 2013, the company ceased its unpaid internship program. In November 2014, Condé Nast moved into One World Trade Center, where its new headquarters is located. On September 14, 2015, the company announced Robert A. Sauerberg Jr. was appointed as its chief executive officer and will remain its president.
Zoot Suit/I'm the Face
"Zoot Suit" b/w "I'm the Face" was the first single of the British rock band the Who, who recorded it under the name the High Numbers in an attempt to appeal to a mod audience. "Zoot Suit" was written by the band's first manager. The song is a direct copy of "Misery" by the American R&B group the Dynamics, while the B-side, "I'm The Face", is a copy of Slim Harpo's "I Got Love If You Want It." The single failed to chart. The band changed their name back to The Who, found new management and released their own composition "I Can't Explain", a top ten hit in the United Kingdom. Both songs embraced mod culture - a zoot suit being a fashionable item of clothing for mods, a "Face" being mod slang for a well respected member of mod society. "I'm the Face" appeared on Odds & Sods in 1974. "I'm the Face" was again released as a B-side single to "Long Live Rock" along with a live version of "My Wife" for the UK single but was dropped on the U. S. single."Zoot Suit" appeared on the soundtrack to the 1979 film based on the Who's 1973 album Quadrophenia.
"Zoot Suit" b/w "I'm the Face" was reissued in 1980 and reached #49 in the UK. "Zoot Suit" is the opening track from the compilation album The Who Hits 50! Released in October 2014. Both songs were featured on the Thirty Years of Maximum R&B box set
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
The Miracles were an American rhythm and blues vocal group, the first successful recording act for Berry Gordy's Motown Records, one of the most important and influential groups in pop and roll, R&B music history. Formed in 1955 by Smokey Robinson, Warren "Pete" Moore, Ronnie White, the group started off as the Five Chimes, changing their name to the Matadors two years later; the group settled on the Miracles after the inclusion of Claudette Robinson in 1958. The most notable Miracles line-up included the Robinsons, White, Bobby Rogers and Marv Tarplin. After a failed audition with Brunswick Records, the group began working with songwriter Berry Gordy, who helped to produce their first records for the End and Chess labels before establishing Tamla Records in 1959 and signing the Miracles as its first act; the group scored the label's first million-selling hit record with the 1960 Grammy Hall of Fame smash, "Shop Around", further established themselves as one of Motown's top acts with the hit singles "You've Really Got a Hold on Me", "What's So Good About Goodbye", "Way Over There", "I'll Try Something New", "Mickey's Monkey", "Going to a Go-Go", " I'm the One You Need", "Just A Mirage", "If You Can Want", "More Love", "I Don't Blame You at All", "Ooo Baby Baby", The multi-award-winning "The Tracks of My Tears", "Special Occasion", "I Second That Emotion", "Baby Baby Don't Cry", the number-one Pop smashes "The Tears of a Clown" and "Love Machine", "Do It Baby", "My Girl Has Gone", among numerous other hits.
Referred to as Motown's "soul supergroup", the Miracles recorded 26 Top 40 Pop hits, sixteen of which reached the Billboard Top 20, seven top 10 singles, a number one single while the Robinsons and Tarplin were members. Following the departure of Tarplin and the Robinsons, the rest of the group continued with singer Billy Griffin and managed by Martin Pichinson who helped rebuild the Miracles, they scored two final top 20 singles, "Do It Baby" and "Love Machine", a second No. 1 hit, which topped the charts before the group departed for Columbia Records in 1977, recording as a quintet with Billy's brother Donald Griffin replacing Marv Tarplin, where after a few releases, they disbanded in 1978. In all, the group had over fifty charted hits by the time. On the R&B charts, the Miracles scored 26 Top 10 Billboard R&B hits, with 4 R&B No. 1's, 11 U. S. R&B Top 10 Albums, including 2-No.1's. Bobby Rogers and Ronald White revived the group as a touring ensemble sporadically during the 1980s and again in the 1990s with lead singer Sydney Justin.
Following White's death in 1995, Rogers continued to tour with different members until he was forced into retirement due to health issues in 2011, dying less than two years later. The Miracles have been awarded many top music industry honors over the years. In 1997, the group received the Pioneer Award at the Rhythm and Blues Foundation for their musical achievements. Four years in 2001, they were inducted to the Vocal Group Hall of Fame. In 2004, they were ranked No. 32 on the Rolling Stone magazine's list of The 100 Greatest Artists of All Time, retaining that same position seven years in 2011. Four of their hit songs were inducted into the Grammy Hall of Fame. In 2009, the group received a star on the Hollywood Walk of Fame. Throughout their careers, the Miracles were enshrined with honors for their songwriting by both BMI and ASCAP. In 2008, Billboard listed them at No. 61 on their 100 most successful Billboard artists list. After much controversy, the Miracles were inducted to the Rock and Roll Hall of Fame in 2012.
The group that became the Miracles was formed in 1955 by five teenage friends from Detroit, under the name the Five Chimes. Three of the founding members, Smokey Robinson, Pete Moore and Ronald White had been singing together since they each were around the age of eleven; the group, influenced by acts such as Billy Ward and His Dominoes and Nolan Strong & the Diablos, featured Clarence Dawson and James Grice in the original lineup. All ` FIVE CHIMES `. After Dawson quit the group and Grice dropped out to get married, they were replaced by Emerson "Sonny" Rogers and his cousin Bobby and changed their name to the Matadors. Both Smokey Robinson and Bobby Rogers were born in the same hospital on the same month and year, despite not meeting each other until they were fifteen. In 1957, Sonny Rogers left to join the United States Army and Claudette Rogers, his sister, singing with the sister group the Matadorettes, joined them shortly afterwards. Following two years of courtship and Claudette married in November 1959.
The group auditioned for Brunswick Records in front of Alonzo Tucker, Nat Tarnopol and one of the label's staff songwriters, Berry Gordy, who remained quiet during the audition. Tucker was unimpressed by the audition, stating that because there was the Platters that "there couldn't be two groups in America like that with a woman in the group." After the Tarnopol and Tucker rejection, Gordy followed them and soon agreed to work with the group after discovering Robinson's notebook full of songs he had written and having been impressed with Robinson's singing voice. Gordy recorded their first single, "Got a Job", an answer song to the Silhouettes' "Get a Job" in January 1958. Gordy shortly thereafter struck a deal with George Goldner's End Records to distribute the single. Before the song was released, the group changed the