Rock and roll
Rock and roll is a genre of popular music that originated and evolved in the United States during the late 1940s and early 1950s from musical styles such as gospel, jump blues, boogie woogie, rhythm and blues, along with country music. While elements of what was to become rock and roll can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until 1954. According to Greg Kot, "rock and roll" refers to a style of popular music originating in the U. S. in the 1950s prior to its development by the mid-1960s into "the more encompassing international style known as rock music, though the latter continued to be known as rock and roll." For the purpose of differentiation, this article deals with the first definition. In the earliest rock and roll styles, either the piano or saxophone was the lead instrument, but these instruments were replaced or supplemented by guitar in the middle to late 1950s; the beat is a dance rhythm with an accentuated backbeat, always provided by a snare drum.
Classic rock and roll is played with one or two electric guitars, a double bass or string bass or an electric bass guitar, a drum kit. Beyond a musical style and roll, as seen in movies, in fan magazines, on television, influenced lifestyles, fashion and language. In addition and roll may have contributed to the civil rights movement because both African-American and white American teenagers enjoyed the music, it went on to spawn various genres without the characteristic backbeat, that are now more called "rock music" or "rock". The term "rock and roll" now has at least two different meanings, both in common usage; the American Heritage Dictionary and the Merriam-Webster Dictionary both define rock and roll as synonymous with rock music. Encyclopædia Britannica, on the other hand, regards it as the music that originated in the mid-1950s and developed "into the more encompassing international style known as rock music"; the phrase "rocking and rolling" described the movement of a ship on the ocean, but was used by the early twentieth century, both to describe the spiritual fervor of black church rituals and as a sexual analogy.
Various gospel and swing recordings used the phrase before it became used more – but still intermittently – in the 1940s, on recordings and in reviews of what became known as "rhythm and blues" music aimed at a black audience. In 1934, the song "Rock and Roll" by the Boswell Sisters appeared in the film Transatlantic Merry-Go-Round. In 1942, Billboard magazine columnist Maurie Orodenker started to use the term "rock-and-roll" to describe upbeat recordings such as "Rock Me" by Sister Rosetta Tharpe. By 1943, the "Rock and Roll Inn" in South Merchantville, New Jersey, was established as a music venue. In 1951, Ohio, disc jockey Alan Freed began playing this music style while popularizing the phrase to describe it; the origins of rock and roll have been fiercely debated by historians of music. There is general agreement that it arose in the Southern United States – a region that would produce most of the major early rock and roll acts – through the meeting of various influences that embodied a merging of the African musical tradition with European instrumentation.
The migration of many former slaves and their descendants to major urban centers such as St. Louis, New York City, Chicago and Buffalo meant that black and white residents were living in close proximity in larger numbers than before, as a result heard each other's music and began to emulate each other's fashions. Radio stations that made white and black forms of music available to both groups, the development and spread of the gramophone record, African-American musical styles such as jazz and swing which were taken up by white musicians, aided this process of "cultural collision"; the immediate roots of rock and roll lay in the rhythm and blues called "race music", country music of the 1940s and 1950s. Significant influences were jazz, gospel and folk. Commentators differ in their views of which of these forms were most important and the degree to which the new music was a re-branding of African-American rhythm and blues for a white market, or a new hybrid of black and white forms. In the 1930s, swing, both in urban-based dance bands and blues-influenced country swing, were among the first music to present African-American sounds for a predominantly white audience.
One noteworthy example of a jazz song with recognizably rock and roll elements is Big Joe Turner with pianist Pete Johnson's 1939 single Roll'Em Pete, regarded as an important precursor of rock and roll. The 1940s saw the increased use of blaring horns, shouted lyrics and boogie woogie beats in jazz-based music. During and after World War II, with shortages of fuel and limitations on audiences and available personnel, large jazz bands were less economical and tended to be replaced by smaller combos, using guitars and drums. In the same period on the West Coast and in the Midwest, the development of jump blues, with its guitar riffs, prominent beats and shouted lyrics, prefigured many developments. In the documentary film Hail! Hail! Rock'n' Roll, Keith Richards proposes that Chuck Berry developed his brand of rock and roll by transposing the familiar two-note lead line of jump blues piano directly to the electric guitar, creatin
Right Here, Right Now (Jesus Jones song)
"Right Here, Right Now" is a song by British alternative dance band Jesus Jones from the album, Doubt. It was released as the album's second single in September 1990. Despite spending only nine nonconsecutive weeks on the UK Singles Chart and peaking at number 31, it became a top ten hit in the United States; the single sold over 1 million copies, won a BMI award, was the song most performed on college radio in 1991. The song was inspired by events in Europe of the late 1980s Perestroika in the Soviet Union; the official video for the song shows the band performing on stage mixed with various images from contemporary political events such as the fall of the Berlin Wall, brief snippets of news footage of the collapse of the Soviet Union and speeches by American and Soviet leaders. Produced by Jesus Jones Recorded at Matrix Studios and Ezee Studios in London. Engineer Darren Allison. "Right Here, Right Now" was used in commercials for TechTV. This song was used by Joe Clark in his successful campaign for the leadership of the Progressive Conservative Party of Canada in 1998, by candidate Gerard Kennedy at the 2006 Liberal Party leadership convention in Canada.
A cover version was recorded by Alvin and the Chipmunks for their 2007 video game of the same name. The single is featured as a playable song in the video game Donkey Konga. A cover version was recorded by New Zealand band The Feelers and released as a single in 2010 and on the album Hope Nature Forgives, it was chosen as the anthem to the 2011 Rugby World Cup advertising campaign. A cover version was recorded by Neal Gardner and released as a single in 2012, it was released as downloadable content for Rock Band 4 on April 26, 2018 for the Xbox One and PlayStation 4. The song was used in the first and last episodes of the Netflix series Wet Hot American Summer: Ten Years Later. Number one modern rock hits of 1991 Jesus Jones -Right Here Right Now on YouTube Lyrics of this song at MetroLyrics
Playground Battle is the third album by New Zealand Rock Band The Feelers. It includes the number-one hits: "Larger Than Life" and "The Fear". Other singles include "Playground Battle", "Supernova" and "Stand Up". Since its release, a second version, The Special Limited Edition, was released including a seven-track bonus disc including five re-mastered live tracks recorded from the bands hugely popular 2005 New Zealand tour; the album climbed to over three times platinum on New Zealand music charts. All songs written by James Reid,except tracks 1 & 5. Weapons Of War – 4:14 Playground Battle – 3:22 Larger Than Life – 3:37 The Fear – 4:59 Fallout Shelter – 4:17 Labyrinth – 2:30 Supernova – 3:54 All Connected – 4:33 Rain – 3:35 Emotional Allstar – 3:56 Military Precision – 3:06 Unleash The Fury – 4:40 Stand Up – 4:00 Weapons Of War Pressure Man As Good As It Gets Larger Than Life Venus Dancing On Water Eyes Of The World Smokecds.co.nz - Buy the CD Amplifier.co.nz - Playground Battle
The Feelers is a New Zealand pop rock band formed in the early 1990s in Christchurch by James Reid and Hamish Gee. The Feelers was released their first album, Supersystem; the album went to number 1 in New Zealand in September 1998, became the second biggest selling album in the country that year. An instrumental version of single "Pressure Man" featured in 1999 American film Drop Dead Gorgeous during Kirsten Dunst's tap-dancing act. At the 1999 New Zealand Music Awards Supersystem won Album of the Year, Song Writer of the Year, Band of the Year, Producer of the Year; the band was awarded the most played song on New Zealand Radio two years running, with "Supersystem" 1998 and "Venus" the following year. After extensive touring the band started work on their next album, recording demos with Des Broadbery before starting production with British producer Gil Norton. Released in 2001, Communicate debuted at Number 1. 2003 album Playground Battle, was seen by the band as a new direction. Hitting the number 1 spot again, the album earned The Feelers their third award for the APRA most played song on New Zealand Radio, for "Stand Up".
After further touring around Australasia, USA and Europe, the band started on their fourth album, One World. Released on 13 November 2006, the self-produced album debuted at number one on the New Zealand Album Charts, went Platinum in its first week of release, their fourth album to hit the number 1 slot. In July 2008, The Feelers played a sellout show at the Octagon in Dunedin before an All Blacks vs South Africa test match at Carisbrook; the band performed two new songs, "Beautiful Feeling" and "Narrow Lanes". That October The Feelers embarked on a national "Heartland" Tour, playing acoustic shows in 18 small towns away from the cities, as a way of saying thanks to those who had supported it over its first ten years; the Feelers released a greatest hits album entitled The Feelers: The Best:'98-'08 in November 2008, which contained 18 songs including two brand new tracks. In October 2009 the album earned The Feelers a Tui in the Vodafone New Zealand Music Awards for the highest selling album.
In May 2009 The Feelers members announced. In September they released details of a competition with MasterCard, where two winners would fly to the Cook Islands, sing and appear in the video of their single "Blue Skies". In an interview with radio station The Rock FM from Rarotonga that October, The Feelers mentioned that the new album would not be released for several months, but the album did not appear. After extended delays, a new album was announced for release in August 2011. In November 2009, the Feelers announced an annual summer tour, adding an as yet unreleased song to the live gigs, "Open Up The Ground". In March 2010, the band released a cover version of Jesus Jones hit, "Right Here, Right Now", as the anthem to the 2011 Rugby World Cup advertising campaign; the New Zealand Herald wrote that the announcement had been "widely panned by New Zealanders posting on the social networking site Twitter", though the newspaper added that some had expressed relief that The Feelers had been chosen, over other Kiwi bands.
In 2011, the band released the album Hope Nature Forgives. James Reid's brother is singer-songwriter Donald Reid. Matt Thomas' brother is keyboardist in New Zealand band Goodshirt, their song "Stand Up" featured as the campaign song for the New Zealand National Party during the 2011 New Zealand election. In November 2013, Reid released his first solo album, Saint. From the band's formation in the early 1990s until 2008, The Feelers consisted of the same members. In 2008 bassist Matt Thomas departed, replaced by Matt Short and shortly after, long time friend of the band Clint Harris from Opshop joined the fray. Guitarist Andy Lynch, who had played guitar for The Feelers on some previous tours, was added permanently to the line-up in 2006. James Reid - vocals, guitar Hamish Gee - drums,guitar Andy Lynch - guitar Clinton Harris - bass Matt Thomas - bass Tim Skedden - Guitar Matt Short - bass Supersystem Communicate Playground Battle One World Hope Nature Forgives Saint The official Feelers website The Feelers on MySpace Amplifier.co.nz - The Feelers
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Malcolm Welsford is a New Zealand Record Producer and is best known for his work with Shihad, The Feelers and Supergroove. Welsford's professional recording career began in 1984 at a small unknown Studio called Frontier Studios, Wellington New Zealand. Frontier was located in the same building as Marmalade Audio and was best known for recording local Reggae bands on 1” 16 Track Tape. In 1986 he became a freelance engineer at Marmalade Studios until relocating to Auckland in 1989 where he worked out of Mandrill Studios and Phil Rudd’s Phil Rudd own personal Studio. In 1992 he began construction of York Street Studios with Killing Joke front man Jaz Coleman which opened to the public in 1993. In 1996 Welsford took over the old Radio New Zealand Studio building on Shortland Street which became Studio Two and housed several other private studios including Tom Bailey's studio. Welsford relocated his production operation to Karekere Studios early 2000. Karekare, New Zealand is best known for black sand beaches and isolation.
Between 1993 and 2005, Welsford contributed to the success of many international and local New Zealand artists such as ZED, Pacifier, Bike, The Feelers, The Headless Chickens, The D4, Indicator Dogs, PanAm, Eye TV, Neil and Tim Finn, Bic Runga and Killing Joke. Welsford moved to the United States early 2005 to focus on Artist development. Welsford developed and produced two albums with Adam Lambert, the runner up for the 2009 American Idol series, he is Adam Lambert's current release with Coldwater Entertainment. Welsford produced over a dozen unreleased tracks which Adam Lambert penned with Guitarist Monte Pittman. Production/Mix Credits include Christina Perri, Adam Lambert, Supergroove, The Feelers, Garageland, Bike, Stellar*, Neil Finn, Tim Finn, The Headless Chickens, Emma Paki, The D4, ZED, Under the Influence - 21 Years of Flying Nun Records. Welsford resides in Leigh, New Zealand. ANDY GRAMMER -'Slow' CHRISTINA PERRI -'Jar of Hearts' Billboard UK#4, Billboard US #11 ADAM LAMBERT - Take One | Billboard#6 Indie, Billboard #72 Top 200 NEIL FINN - One Nil Neil Finn TIM FINN - Feeding the Gods SHIHAD/PACIFIER (BMG/Polygram/Warners Churn, Shihad/Shihad, Pacifier Live Shihad TADPOLE ( EMI-Buddafinger Album, 2x Platinum Tadpole RUNGA/DOBBYN/FINN Together in Concert: Live THE FEELERS – Warner Music, Supersystem (No.1 selling album for over 59 weeks, 5x Platinum Supersystem SUPERGROOVE (BMG, Traction – No.1 selling album, 6x Platinum Supergroove THE HEADLESS CHICKENS (Mushroom George – No.1 selling single The Headless Chickens ZED The D4 (Get Loose.
Charted #64 on UK Charts The D4 LONDON SYMPHONY ORCHESTRA www.discogs.com “The National Academy of Recording Arts & Sciences is known as the Recording Academy concur that Mr. Welsford's accomplishments are recognized within the United States and abroad. Since 1994 he has been the recipient of eight Grammy recognized awards as well as three gold album awards, five platinum album award and four multi-platinum album awards”. 2000 Music awards – nominated best Producer. 1999 Top NZ selling album by a NZ artist. 1998 Top NZ selling album. Awarded Producer of the Year at the 1998 New Zealand Music Awards - Pressure Man. Awarded Producer of the Year at the 1997 New Zealand Music Awards Backspacer. Award shared with Karl Steven Awarded Producer and Engineer of the Year at the 1995 New Zealand Music Awards Traction. Producer award was shared with co-producer, Karl Steven Awarded Engineer of the Year, 1994 New Zealand Music Awards Churn 1994. US Billboard Visionary Award for Outstanding Producer/Engineer www.welsfordmusic.com Official website www.fraserharding.com