1.
Album
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Album, is a collection of audio recordings issued as a single item on CD, record, audio tape, or another medium. Albums of recorded music were developed in the early 20th century, first as books of individual 78rpm records, vinyl LPs are still issued, though in the 21st century album sales have mostly focused on compact disc and MP3 formats. The audio cassette was a format used from the late 1970s through to the 1990s alongside vinyl, an album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places. Recording may take a few hours to years to complete, usually in several takes with different parts recorded separately. Recordings that are done in one take without overdubbing are termed live, the majority of studio recordings contain an abundance of editing, sound effects, voice adjustments, etc. With modern recording technology, musicians can be recorded in separate rooms or at times while listening to the other parts using headphones. Album covers and liner notes are used, and sometimes additional information is provided, such as analysis of the recording, historically, 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 pieces of printed music from the early nineteenth century. Later, collections of related 78rpm records were bundled in book-like albums, the LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. It was adopted by the industry as a standard format for the album. Apart from relatively minor refinements and the important later addition of stereophonic sound capability, the term album had been carried forward from the early nineteenth century when it had been used for collections of short pieces of music. Later, collections of related 78rpm records were bundled in book-like albums, as part of a trend of shifting sales in the music industry, some commenters have declared that the early 21st century experienced the death of the album. Sometimes shorter albums are referred to as mini-albums or EPs, Albums such as Tubular Bells, Amarok, Hergest Ridge by Mike Oldfield, and Yess Close to the Edge, include fewer than four tracks. There are no rules against artists such as Pinhead Gunpowder referring to their own releases under thirty minutes as albums. These are known as box sets, material is stored on an album in sections termed tracks, normally 11 or 12 tracks. A music track is a song or instrumental recording. The term is associated with popular music where separate tracks are known as album tracks. When vinyl records were the medium for audio recordings a track could be identified visually from the grooves
2.
Michael Nyman
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He has written six concerti, four string quartets, and many other chamber works, many for his Michael Nyman Band. He is also a performing pianist, Nyman prefers to write opera rather than other forms of music. Nyman was born in Stratford, London to a family of Polish secular Jewish furriers, Nyman was educated at the Sir George Monoux Grammar School, Walthamstow. He won the Howard Carr Memorial Prize for composition in July 1964, in 1965–66 Nyman secured a residency in Romania, to study folk-song, supported by a British Council bursary. It subsequently became the base for his 1977 piece In Re Don Giovanni and he wrote introductions for George Frideric Handels Concerti Grossi, Op.6 and conducted the most important interview with George Brecht in 1976. He wrote settings to various texts by Mozart for Letters, Riddles and Writs and he also produced a soundtrack for the silent film Man with a Movie Camera. Nymans popularity increased after he wrote the score to Jane Campions award-winning 1993 film The Piano, the album became a classical music best-seller. He was nominated for both a British Academy Award and a Golden Globe and his few forays into Hollywood have been Gattaca, Ravenous, and The End of the Affair. In 2000, he produced a new opera on the subject of cloning on a libretto by Victoria Hardie titled Facing Goya, the lead, a widowed art banker, is written for contralto and the role was first created by Hilary Summers. His newest operas are Man and Boy, Dada and Love Counts and he has also composed the music for the childrens television series Titch which is based on the books written and illustrated by Pat Hutchins. Many of Nymans works are written for his own ensemble, the Michael Nyman Band and this line up has been variously altered and augmented for some works. Nyman also published a book in 1974 on experimental music called Experimental Music, Cage and Beyond. In the 1970s, Nyman was a member of the Portsmouth Sinfonia – the self-described Worlds Worst Orchestra – playing on their recordings, Nyman created a similar group called Fosters Social Orchestra, which specialised in the work of Stephen Foster. One of their pieces appeared in the film Ravenous and a work, not used in the film. He has also recorded pop music with the Flying Lizards, a version of his Bird List from the soundtrack to Peter Greenaways The Falls appears on their album Fourth Wall as Hands 2 Take, on 7 July 2007, Nyman performed at Live Earth in Japan. On 2008 Nyman realised, in collaboration with the cultural association Volumina, Sublime, in October 2009, Nyman released The Glare, a collaborative collection of songs with David McAlmont, which cast his work in a new light. The album – recorded with the Michael Nyman Band – finds McAlmont putting lyrics based on news stories to 11 pieces of Nyman music drawn from different phases of his career. In 2012, he made a soundtrack for film Everyday, keith H. Yoo in 2012 commissioned Nyman to write a 26 minutes long piano quintet in four movements titled Through the Only Window
3.
Ute Lemper
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Ute Lemper is a German singer and actress renowned for her interpretation of the work of Kurt Weill. Born in Münster, Germany, Ute Gertrude Lemper was raised in a Roman Catholic family and she joined the jazz-rock music group known as the Panama Drive Band at the age of 16. Later, she graduated from the Dance Academy in Cologne and the Max Reinhardt Seminary Drama School in Vienna and she also dubbed the singing voices of Ariel in Disneys The Little Mermaid and Esmeralda in The Hunchback of Notre Dame for German-speaking audiences. In 1991 Ute Lemper participated in the Sanremo Music Festival with song The Photograph, a painter in the neoclassical style, Lempers paintings have been showcased in numerous galleries. Lemper, a mother of four, resides on the Upper West Side section of Manhattan in New York City and she performs worldwide, recently in the Middle East. Her autobiography was published in Berlin in 1995 and she has also authored several journal articles. She starred as Marie Antoinette for LAutrichienne, and subsequently appeared in such as Prorva, Bogus, Jean Galmot, aventurier, Prosperos Books, Appetite. She has contributed to the soundtracks of films, including The Voyager, Kissing Jessica Stein. In 2007, Lemper was a juror in Lets Dance, the German version of Dancing with the Stars and she recorded Illusions in 1992, devoted to the songs of Marlene Dietrich and Édith Piaf. She has numerous pop albums, variously in English, French, and German, Lemper is known for wild interpretations on discs like the Sondheim tribute City of Strangers, containing a particularly mannered version of the Elaine Stritch-popularized song The Ladies Who Lunch. In 1998, a Lemper compilation, All That Jazz, The Best of Ute Lemper, was released, in 2003 and 2006, Lempers songwriting talents were shown on her discs from those years as she moved from being an interpretive singer to a singer/songwriter
4.
London Records
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London Records is a record label in the U. K. that marketed records in the U. S, Canada, and Latin America from 1947 to 1979 before becoming semi-independent. London arose from the split in ownership between the British and American branches of Decca Records, the American branch released British Decca records in the U. S. since it could not use the Decca name there. The label was noted for classical albums made in then state-of-the-art stereophonic sound, by the 1960s more licensing deals had been made with Big Top, Monument, Parrot, Philles, and Hi, and subsidiary labels were London Atlantic, London Dot and London Monument. An unusual feature was the code in the numbering system. From the late 1950s until 1973, the label bore the logo London American Recordings, in America, the label was best known as the American imprint of the pre–1971 recordings of the Rolling Stones. The label also issued some early LPs and singles by Texas-based band ZZ Top. In the late 1970s, London signed deals with Bomp, Records and with Big Sound in Connecticut, U. S. This changed the label in the eyes of many from a backwater into something a little more edgy compared to the pedestrian contemporary releases from parent company Decca, the president of London Records in the 1970s was D. H. Tollerbond. After British Decca was acquired by PolyGram in 1979, London followed an independent course with subsidiary labels such as Slash, Pete Tongs Essential Records. The name is used, mainly for UK-based artists. Notable artists released by that incarnation of London, called London Records 90, include New Order, Happy Mondays, A, after PolyGram took over British Decca, classical-music albums recorded by British Decca continued to be released on the London label in the U. S. S. The London pop music catalogue owned by Universal Music is now managed by Polydor Records, Decca Records had a recording studio in Blomfield Road, West London, there may have been another in Londons West End. In 2010, Universal Music reclaimed ownership of the London Records trademark, both had started their careers at London Records in the Ames era in the 1990s. When Nick Raphael became president of Capitol Recordss UK division in 2013, London Records moved there, Arlissa All Saints Arlissa Dear Prudence The Gypsy Queens List of record labels The London Records Story from BSN Pubs Discographies London Records A&R team contact list
5.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the 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, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, 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 and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
