Rocks Your Lame Ass
... Rocks Your Lame Ass is the second studio album by the American rock band Hagfish, released in June 1995 on London Records; the album was recorded and produced by Bill Stevenson and Stephen Egerton at The Blasting Room in Fort Collins, Colorado in 1994. Backed by the singles "Stamp" and "Happiness", which included music videos that were featured on MTV's 120 Minutes, Rocks Your Lame Ass would go on to become the group's most successful effort; the album rights were acquired by UMG when they purchased London Records. All songs written by George Stroud Reagan III except. "Happiness" – 2:08 "Stamp" – 2:19 "Flat" – 2:09 "Bullet" – 2:36 "Crater" – 1:15 "Minit Maid" – 1:26 "White Food" – 0:52 "Disappointed" – 2:28 "Plain" – 2:25 "Buster" – 2:21 "Trixie" – 2:29 "Did You Notice" – 2:01 "Gertrude" – 2:22 "Hose" – 2:30 George Stroud Reagan III – lead vocals Zach Blair – guitar, backing vocals Doni Blair – bass guitar Tony Barsotti – drums, backing vocalsAdditional personnel Bill Stevenson – producer, engineer Stephen Egerton – producer, engineer Howie Weinberg – mastering engineer Karl Alvarez – backing vocal assistance Jon Snodgrass – backing vocal assistance Amos T.
Ache – art direction, layout design Joby Cummings –'Fighting Hagfish' logo Marina Chavez – photography
Mastering, a form of audio post production, is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device, the source from which all copies will be produced. In recent years digital masters have become usual, although analog masters, such as audio tapes, are still being used by the manufacturing industry, notably by a few engineers who have chosen to specialize in analog mastering. Mastering requires critical listening. Results still depend upon the intent of the engineer, the accuracy of the speaker monitors, the listening environment. Mastering engineers may need to apply corrective equalization and dynamic compression in order to optimise sound translation on all playback systems, it is standard practice to make a copy of a master recording, known as a safety copy, in case the master is lost, damaged or stolen. In the earliest days of the recording industry, all phases of the recording and mastering process were achieved by mechanical processes.
Performers sang and/or played into a large acoustic horn and the master recording was created by the direct transfer of acoustic energy from the diaphragm of the recording horn to the mastering lathe located in an adjoining room. The cutting head, driven by the energy transferred from the horn, inscribed a modulated groove into the surface of a rotating cylinder or disc; these masters were made from either a soft metal alloy or from wax. After the introduction of the microphone and electronic amplifier in the mid-1920s, the mastering process became electro-mechanical, electrically driven mastering lathes came into use for cutting master discs; until the introduction of tape recording, master recordings were always cut direct-to-disc. Only a small minority of recordings were mastered using recorded material sourced from other discs. In the late 1940s, the recording industry was revolutionized by the introduction of magnetic tape. Magnetic tape was invented for recording sound by Fritz Pfleumer in 1928 in Germany, based on the invention of magnetic wire recording by Valdemar Poulsen in 1898.
Not until the end of World War II could the technology be found outside Europe. The introduction of magnetic tape recording enabled master discs to be cut separately in time and space from the actual recording process. Although tape and other technical advances improved audio quality of commercial recordings in the post-war years, the basic constraints of the electro-mechanical mastering process remained, the inherent physical limitations of the main commercial recording media—the 78 rpm disc and the 7-inch 45 rpm single and 33-1/3 rpm LP record—meant that the audio quality, dynamic range, running time of master discs were still limited compared to media such as the compact disc. From the 1950s until the advent of digital recording in the late 1970s, the mastering process went through several stages. Once the studio recording on multi-track tape was complete, a final mix was prepared and dubbed down to the master tape either a single-track mono or two-track stereo tape. Prior to the cutting of the master disc, the master tape was subjected to further electronic treatment by a specialist mastering engineer.
After the advent of tape it was found that for pop recordings, master recordings could be made so that the resulting record would sound better. This was done by making fine adjustments to the amplitude of sound at different frequency bands prior to the cutting of the master disc. Record mastering became a prized and skilled craft, it was recognized that good mastering could make or break a commercial pop recording; as a result, the independent mastering studio was born. Early independent mastering engineers included Doug Sax, Bob Ludwig, Bob Katz and Bernie Grundman and Denny Purcell. In large recording companies such as EMI, the mastering process was controlled by specialist staff technicians who were conservative in their work practices; these big companies were reluctant to make changes to their recording and production processes. For example, EMI was slow in taking up innovations in multi-track recording and they did not install 8-track recorders in their Abbey Road Studios until the late 1960s, more than a decade after the first commercial 8-track recorders were installed by American independent studios.
In the 1990s, electro-mechanical processes were superseded by digital technology, with digital recordings stored on hard disk drives or digital tape and mastered to CD. The digital audio workstation became common in many mastering facilities, allowing the off-line manipulation of recorded audio via a graphical user interface. Although many digital processing tools are common during mastering, it is very common to use analog media and processing equipment for the mastering stage. Just as in other areas of audio, the benefits and drawbacks of digital technology compared to analog technology are still a matter for debate. However, in the field of audio mastering, the debate is over the use of digital versus analog signal processing rather than the use of digital technology for storage of audio. Digital systems allow mixing to be performed at lower maximum levels. With peaks between -3 and -9 dBFS on a mix, the mastering engineer has enough headroom to process and produce a final master, it is important to allow enough headroom for the mastering engineer's work.
Reduction of headroom by the mix or
Seeing Things (album)
Seeing Things is singer-songwriter Jakob Dylan's first solo studio album. The album was released on June 10, 2008, by Columbia Records and was recorded at the Hollywood Hills home of producer Rick Rubin. Dylan performed songs from the album for a small group on May 8, 2008 at Nissan's Live Sets in Los Angeles, California. Videos of these performances are available for viewing at Jakob Dylan @ Yahoo Music. Dylan announced his first solo tour with his band The Gold Mountain Rebels to promote the album beginning May 17, 2008, with appearances on the Late Show with David Letterman on June 11, on The Tonight Show with Jay Leno on July 15, on The Late Late Show with Craig Ferguson on August 4. All songs written and composed by Jakob Dylan, except "I Told You I Couldn't Stop" composed by Dylan and Matt Sweeney. "Evil Is Alive and Well" – 3:56 "Valley of the Low Sun" – 3:57 "All Day and All Night" – 3:28 "Everybody Pays as They Go" – 3:00 "Will It Grow" – 4:49 "I Told You I Couldn't Stop" – 4:14 "War Is Kind" – 3:08 "Something Good This Way Comes" – 3:39 "On up the Mountain" – 3:45 "This End of the Telescope" – 3:59 Jakob Dylan – bass, vocals Rick Rubin – producer Z. Berg – musician Mathieu Bitton – art direction, design Jason Boesel – musician Lindsay Chase – production coordination Rich Egan – management Jason Lader – engineer, mixing Dana Nielsen – engineer Vlado Meller – mastering James Minchin – photography Mark Santangelo – assistant
Punk rock is a rock music genre that developed in the mid-1970s in the United States, United Kingdom and Australia. Rooted in 1960s garage rock and other forms of what is now known as "proto-punk" music, punk rock bands rejected perceived excesses of mainstream 1970s rock, they produced short, fast-paced songs with hard-edged melodies and singing styles, stripped-down instrumentation, political, anti-establishment lyrics. Punk embraces a DIY ethic; the term "punk rock" was first used by certain American rock critics in the early 1970s to describe 1960s garage bands and subsequent acts perceived as stylistic inheritors. Between 1974 and 1976 the movement now called. By late 1976, bands such as Television and the Ramones in New York City, the Sex Pistols, the Clash, the Damned in London, the Saints in Brisbane were recognized as forming its vanguard; as 1977 approached, punk became a major and controversial cultural phenomenon in the UK. It spawned a punk subculture expressing youthful rebellion through distinctive styles of clothing and adornment and a variety of anti-authoritarian ideologies.
In 1977 the influence of the music and subculture became more pervasive. It took root in a wide range of local scenes that rejected affiliation with the mainstream. In the late 1970s, punk experienced a second wave as new acts that were not active during its formative years adopted the style. By the early 1980s, faster and more aggressive subgenres such as hardcore punk, street punk and anarcho-punk became the predominant modes of punk rock. Musicians identifying with or inspired by punk pursued other musical directions, giving rise to spinoffs such as post-punk, new wave, indie pop, alternative rock, noise rock. By the 1990s, punk re-emerged in the mainstream with the success of punk rock and pop punk bands such as Green Day, The Offspring, Blink-182; the first wave of punk rock was "aggressively modern" and differed from what came before. According to Ramones drummer Tommy Ramone, "In its initial form, a lot of stuff was innovative and exciting. What happens is that people who could not hold a candle to the likes of Hendrix started noodling away.
Soon you had endless solos. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock'n' roll." John Holmstrom, founding editor of Punk magazine, recalls feeling "punk rock had to come along because the rock scene had become so tame that like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans and roll meant this wild and rebellious music." In critic Robert Christgau's description, "It was a subculture that scornfully rejected the political idealism and Californian flower-power silliness of hippie myth." Technical accessibility and a Do. UK pub rock from 1972-1975 contributed to the emergence of punk rock by developing a network of small venues, such as pubs, where non-mainstream bands could play. Pub rock introduced the idea of independent record labels, such as Stiff Records, which put out basic, low-cost records. Pub rock bands put out small pressings of their records. In the early days of punk rock, this DIY ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands.
Musical virtuosity was looked on with suspicion. According to Holmstrom, punk rock was "rock and roll by people who didn't have many skills as musicians but still felt the need to express themselves through music". In December 1976, the English fanzine Sideburns published a now-famous illustration of three chords, captioned "This is a chord, this is another, this is a third. Now form a band"; the title of a 1980 single by the New York punk band Stimulators, "Loud Fast Rules!", inscribed a catchphrase for punk's basic musical approach. Some of British punk rock's leading figures made a show of rejecting not only contemporary mainstream rock and the broader culture it was associated with, but their own most celebrated music predecessors: "No Elvis, Beatles or the Rolling Stones in 1977", declared the Clash song "1977"; the previous year, when the punk rock revolution began in Great Britain, was to be both a musical and a cultural "Year Zero". As nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan "No Future".
While "self-imposed alienation" was common among "drunk punks" and "gutter punks", there was always a tension between their nihilistic outlook and the "radical leftist utopianism" of bands such as Crass, who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's outlook, "Punk rock is meant to be our freedom. We're meant to be able to do what we want to do."The issue of authenticity is important in the punk subculture—the pejorative term "poseur" is applied to those who associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values and philosophy. Scholar Daniel S. Traber argues that "attaining authenticity in the punk identity can be difficult".
A recording studio is a specialized facility for sound recording and audio production of instrumental or vocal musical performances, spoken words, other sounds. They range in size from a small in-home project studio large enough to record a single singer-guitarist, to a large building with space for a full orchestra of 100 or more musicians. Ideally both the recording and monitoring spaces are specially designed by an acoustician or audio engineer to achieve optimum acoustic properties. Recording studios may be used to record singers, instrumental musicians, voice-over artists for advertisements or dialogue replacement in film, television, or animation, foley, or to record their accompanying musical soundtracks; the typical recording studio consists of a room called the "studio" or "live room" equipped with microphones and mic stands, where instrumentalists and vocalists perform. The engineers and producers listen to the live music and the recorded "tracks" on high-quality monitor speakers or headphones.
There will be smaller rooms called "isolation booths" to accommodate loud instruments such as drums or electric guitar amplifiers and speakers, to keep these sounds from being audible to the microphones that are capturing the sounds from other instruments or voices, or to provide "drier" rooms for recording vocals or quieter acoustic instruments such as an acoustic guitar a or fiddle. Major recording studios have a range of large and hard-to-transport instruments and music equipment in the studio, such as a grand piano, Hammond organ, electric piano. Recording studios consist of three or more rooms: The "live room" of the studio where the vocalists sing and instrumentalists play their instruments, with their singing and playing picked up by microphones and, for electric and electronic instruments, by connecting the instruments' outputs or DI unit outputs to the mixing board. Isolation booths are small sound-insulated rooms with doors, designed for instrumentalists. Vocal booths are designed rooms for singers.
In both types of rooms, there are windows so the performers can see other band members and the audio engineer/record producer, as singers and musicians give or receive visual cues. This equipment may make noise. Recording studios are designed around the principles of room acoustics to create a set of spaces with the acoustical properties required for recording sound with precision and accuracy; this will consist of both room treatment and soundproofing to prevent sound from leaving the property. A recording studio has to be soundproofed on its outer shell as well, to prevent noises from the surrounding streets and roads from being picked up by microphones. A recording studio may include additional rooms, such as a vocal booth—a small room designed for voice recording, as well as one or more extra isolation booths for loud guitar stacks and extra control rooms. Though sound isolation is a key goal, the musicians, audio engineers and record producers still need to be able to see each other, to see cue gestures and conducting by a bandleader.
As such, the "live room", isolation booths, vocal booths and control room have windows. Equipment found in a recording studio includes: A large professional-grade mixing console Additional small mixing consoles with 4, 8 or 16 channels, for adding more channels A large number of preamplifiers for microphones, such as the Neve 1272 and Neve 3104 Multitrack recorder Computers A wide selection of microphones. Studios have Neuman Tube mics, AKG tube mics, RCA ribbon mics, a number of Shure SM 57 and SM 58 mics. A large number of DI unit boxes Two or more record players Syncs A wide variety of microphone stands (boom stands, straigh
The Descendents are a punk rock band formed in 1977 in Manhattan Beach, California by guitarist Frank Navetta, bassist Tony Lombardo and drummer Bill Stevenson. In 1979, they enlisted Stevenson's school friend Milo Aukerman as a singer, reappeared as a punk rock band, becoming a major player in the hardcore punk scene developing in Los Angeles at the time, they have released seven studio albums, three live albums, three compilation albums, three EPs. Since 1986, the band's lineup has consisted of singer Milo Aukerman, guitarist Stephen Egerton, bassist Karl Alvarez, drummer Bill Stevenson. In 1977, friends Frank Navetta and David Nolte began writing songs on acoustic guitars with the intention of forming a band, they called themselves The Itch, until Navetta came up with the name Descendents. By the end of the year they had failed to attract any more band members, so Nolte instead joined The Last with his brothers. In late 1978 Navetta was joined by drummer Bill Stevenson and bassist Tony Lombardo, revitalizing the Descendents project.
Nolte sang with the group at several of their early performances, but by the Spring of 1979 The Last were becoming more active and he left the Descendents. The singerless "power trio" lineup of Navetta and Stevenson recorded the band's debut single at Media Art studios and released it on their own label, Orca Records, named after Stevenson's fishing boat. Lombardo sang "It's a Hectic World" while Navetta sang "Ride the Wild". Nolte produced and mixed the session, his brother Joe turned the lead guitar level up, resulting in the guitar being loud in the mix; the band's music at the time was described by Stevenson as a "coffee'd-out blend of rock-surf-pop-punk music The sound consisted of Lombardo's hard-driving, melodic bass lines, Navetta's tight guitar riffing, my'caffinated' surf beats." Steven Blush, author of American Hardcore: A Tribal History, describes the single as "a blend of Devo-style new wave and Dick Dale-like surf." Ned Raggett of AllMusic describes it as surf-inspired power pop with a New Wave edge: "Not quite Devo if they grew up on the coast, but there's something to that comparison."Lacking a lead singer and Lombardo provided vocals on the single.
After a six-month trial with a female singer, they recruited Milo Aukerman as their new vocalist. The addition of Aukerman and the consumption of large amounts of coffee led the band to write shorter and more aggressive songs in a hardcore punk style, they released the Fat EP in 1982. It was a record which established the band's presence in the southern California hardcore punk movement with its short, aggressive songs. For the recording of their first album in June 1982, the band worked at Total Access Recording in Redondo Beach, California with Spot, who had engineered and produced the Fat EP. While still short and fast, the songs on Milo Goes to College were melodic. Singer Milo Aukerman reflected: "It's interesting: we started melodic moved to hardcore, but melded the two at a certain point and became melodic hardcore." The album's title and cover illustration referenced Aukerman's departure from the band to study biology at the University of California, San Diego. The illustration was done by Jeff Atkinson, based on earlier caricatures by a high school classmate of Aukerman's named Roger Deuerlein, who had drawn comic strips and posters depicting Aukerman as the class nerd.
A note on the back of the LP read "In dedication to Milo Aukerman from the Descendents", was signed by the other three members. Aukerman recalled that the band took his departure in stride: When I decided to go to university, the guys in the band were pretty hip on it because they knew how big of a nerd I was. Like, "What else would you expect him to do but to go off and be a geek?" I mean, I've got a Ph. D in biochemistry — how uncool is that? The band continued performing for a time with Ray Cooper on vocals, who switched to rhythm guitar, with Aukerman when he would make return visits to Los Angeles. At the same time, drummer Bill Stevenson had joined Black Flag, intending to be in both bands at once but soon finding it too difficult due to Black Flag's touring and recording schedule:"The band had time off so I spent like two years with Black Flag. I got in over my head; when I joined Flag I had every intention of doing both bands but it was physically impossible. Flag had all this stuff in progress, so I put Descendents on hold."With Aukerman in college and Stevenson in Black Flag, the Descendents went on hiatus from 1983 to 1985.
During this time lead guitarist Frank Navetta burned all of his equipment and moved to Oregon, while Cooper and bassist Tony Lombardo performed as the Ascendants. In 1985 Stevenson left Black Flag and he, Aukerman and Lombardo reconvened as the Descendents for I Don't Want to Grow Up, recorded that April at Music Lab studios in Hollywood, Los Angeles, California with producer and engineer David Tarling and published by New Alliance Records. Lombardo was unable to tour with the band due to his job with the United States Postal Service, was replaced by Doug Carrion, who performed on their three tours in support of I Don't Want to Grow Up After three tours in support of I Don't Want to Grow Up, the band recorded Enjoy! in March and April 1986 at Radio Tokyo studios in Venice, California. Drummer Bill Stevenson acted as producer of the album, working with recording engineers Richard Andrews and Ethan James; the lyrics of "Hürtin' Crüe" derived from a high school classmate of singer Milo Aukerman who had earned a score of 1420 on the SAT, gaining him entry into the United States Military Academy.
Gloating about his accomplishment, he sang a taunt with the lyrics "I am better than you / You are a piece of poo / 1420"
Lagwagon is an American punk rock band from Goleta, just outside Santa Barbara. They formed in 1990, went on hiatus in 2000, reunited several times over the years, their name comes from the band's tour van, which can be seen on the back cover of their 1994 second album Trashed. The band has 11 releases through Fat Wreck Chords: eight studio albums, one EP, one live album and a collection of B-sides, compilation tracks and demos. Lagwagon has never had, nor have they seemed to pursue, strong mainstream success, but they do have a devoted underground following in North America and Asia, their moderate success reflected a growing interest in punk rock during the 1990s, along with fellow California bands Rancid, Green Day and The Offspring. Their song May 16 was featured in Tony Hawk's Pro Skater 2; the story about the name Lagwagon is that Joey’s mom was late picking him and his brother up from school. She drove a station wagon, which his brother dubbed the "lagwagon". After signing to Fat Mike's label Fat Wreck Chords, Lagwagon released their debut album for the label, Duh, in 1992.
Frontman Joey Cape commented on how the album was made, "Back we were inexperienced in the studio. It was more about rehearsing. We mixed Duh in 4 days. There's something to be said for a budget. You have to have your shit together before you go into the studio and the end result is a record that better reflects the band's sound at the time." Two years Lagwagon released Trashed, their second record on Fat, which turned out to be successful, leading to the eventual production of a video for "Island of Shame." During this time, a number of punk bands, such as Green Day, The Offspring and Rancid, had hit the mainstream and Lagwagon turned down offers to join several major labels. Hoss, the third Lagwagon album, was released on November 21, 1995. After the release of that album and an extensive tour in Europe and Japan, both guitarist Shawn Dewey and drummer Derrick Plourde would leave the band and be replaced temporarily by Ken Stringfellow on guitar, permanently by Dave Raun on drums. Shawn Dewey in the side project band Buck Wild on Lobster Records would go on to release two full-length LPs Beat Me Silly and Full Metal Overdrive and do two European tours with Good Riddance and Ten Foot Pole.
After two more albums, Double Plaidinum and Let's Talk About Feelings, the band went on indefinite hiatus in 2000, due to all members working on side projects. Lagwagon resurfaced in 2002, released their sixth album Blaze the following year. In 2004, frontman Joey Cape released a split album with No Use for a Name vocalist Tony Sly featuring acoustic versions of songs by both bands. On November 1, 2005, Lagwagon released Resolve, a homage to the life of Derrick Plourde, original drummer for Lagwagon and Bad Astronaut. In 2008, Lagwagon released. Despite earlier reports that the band would begin recording their next full-length studio album by 2009, Lagwagon had gone on hiatus from touring and writing again, due to Cape launching a solo career, releasing Bridge in 2008 and Doesn't Play Well with Others in 2010. In January 2010, Joey Cape announced during an interview with Canada's Exclaim! magazine that Jesse Buglione had left Lagwagon, having been with the band since its foundation in 1990. However, Cape dismissed rumors of Lagwagon breaking up.
While he was not sure if Lagwagon would record a new album or embark on another full-scale tour, he said that he was open to playing shows and recording and releasing new Lagwagon songs sporadically. Jesse Buglione confirmed his departure on Lagwagon's official message board himself, as reported by sputnikmusic.com and punknews.org. Lagwagon toured with No Use for a Name that summer. In an interview with fasterlouder.com.au Joey Cape, revealed former RKL bassist Joe Raposo is Lagwagon's new bassist. In a June 2011 interview with ExploreMusic however, Joey Cape said that things didn't work out with Raposo, the band is testing a new bassist. After first announcing Patrick Solem as the new bass player in August 2011, the band decided that Raposo would remain in the band permanently. On September 22, 2011, Fat Wreck announced they would be re-issuing expanded editions of the first 5 albums on CD, digital download; the albums were available both separately and in a box set titled Putting Music In Its Place.
The reissues were released November 22, 2011, with a short line-up of concerts in the USA played in December and January, a European tour following in April 2012. As of October 2012, Lagwagon is headlining a full U. S. tour titled The Fat Tour 2012, with Dead To Me, The Flatliners, Useless ID as support. In October 2012, Joey Cape stated that there will be a new Lagwagon album, which will be their first since 2005's Resolve. While details and release dates are not yet known, the band announced on its Twitter feed that songs are being written for a new album; the September 22 Tweet reads, "Writing, writing. New album... It's gonna happen!" The band recorded their eighth album, with Bill Stevenson and Jason Livermore at The Blasting Room, Ft Collins, CO. The album was released on October 28, 2014, debuted at #95 on the Billboard 200. Joey Cape – vocals Chris Flippin – guitar Joe Raposo – bass Chris Rest – guitar Dave Raun – drums Shawn Dewey – guitar Ken Stringfellow – guitar Jesse Buglione – bass Derrick Plourde – drums Lindsay McDougall – guitar Scott Shiflett – guitar Chris Shiflett – guitar "Island of Shame" from Trashed "Razor Burn" from Hoss "Fa