Throwing the Game (album)
Throwing the Game is the second full-length album by Lucky Boys Confusion, their first on a major label. The album contains newly recorded versions of songs from Growing Out of It and The Soapbox Spectacle, plus five new songs. "Breaking Rules" – 3:26 "40/80" – 4:18 "Fred Astaire" – 3:58 "Bossman" – 3:20 "Do You Miss Me " – 2:50 "Child's Play" – 3:43 "Dumb Pop Song / Left of Center" – 3:27 "Not About Debra" – 3:55 "Saturday Night" – 3:58 "Never like This" – 1:09 "3 to 10 / CB's Caddy Part III" – 3:28 "City Lights" – 3:40 "One to the Right" – 3:25 "Slip" + "Perfect" – 7:55 Kaustubh Pandav – vocals Adam Krier – guitars, Hammond B3 organ, piano Ryan Fergus – drums Joe Sell – guitars Jason Schultejann – bass guitar "Do You Miss Me" is a cover of Jocelyn Enriquez's hit single, though with altered lyrics in the verses. "Perfect", the album's hidden bonus track, begins at 3:47 on Track 14
Commitment (Lucky Boys Confusion album)
Commitment is the third album by the Chicago-area rock band Lucky Boys Confusion, released on October 21, 2003. It is their second album released on a major label. "Champions Dub" – 1:04 "Hey Driver" – 2:36 "Broken" – 3:08 "Mr. Wilmington" – 3:20 "Beware" – 3:06 "Commitment" – 2:47 "Atari" – 3:10 "Sunday Afternoon" – 3:52 "Closer to Our Graves" – 3:32 "Something to Believe" – 3:00 "You Weren't There" – 1:30 "Blame" – 2:51 "South Union" – 0:43 "Ordinary" – 2:30 "Medicine and Gasoline" – 3:26 "Champions" Note: The Japanese version of this album contains the bonus track, "Soldier Song". Kaustubh Pandav - vocals Adam Krier - guitars, backing vocals, organ, percussion Joe Sell - guitars Jason Schultejann- electric and upright bass, backing vocals Ryan Fergus - drums, backing vocals
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 Academics have argued that categorizing music by genre is inaccurate and outdated.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
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
Growing Out of It
Growing Out Of It is the debut album released by Lucky Boys Confusion in 1998. "Cockboy's Caddy" - 0:25 "40/80" - 4:55 "LBC" - 4:16 "Masala" - 2:15 "King of Apathy" - 0:56 "Slow Down" - 4:27 "Arizona Stand" - 5:30 "Child's Play" - 4:45 "First Encounter With a Devil" - 1:03 "Fred Astaire" - 4:52 "What Gets Me High" - 4:35 "Gwendolyn B. Sings Sin" - 3:44 "Of Course" - 4:23 "Back Then..." - 3:01 "Dumb Pop Song" - 2:09 "Keep Talking" - 4:04 "Deja Vous" - 3:45 "One To The Right" - 5:13 "Untitled" - 2:19 Kaustubh Pandav - lead vocals Ryan Fergus - drum kit and percussion Adam Krier - vocals, keys and congas Jason Schultejann - bass Joe Sell - lead guitar Alexander Bassett - graphic design, cover art
Closing Arguments (album)
Closing Arguments is the fourth full-length studio album by Lucky Boys Confusion, released in 2009. It is their first full-length release since being dropped by Elektra Records, their first since 2003's Commitment; the album is composed of older b-sides and demos, plus a new song, "This Town Ain't Big Enough for Both of Us." "Biggest Mistake" was released on Stubhy's side project Shock Stars' 2007 EP Feel for a Heartbeat. "When Bad News Gets Worse" was released on Lucky Boys Confusion's 2006 EP How to Get Out Alive. Closing Arguments was released digitally on May 26, 2009 to iTunes and Amazon MP3; the physical release was on June 23, 2009. "This Town Ain't Big Enough for Both of Us" – 4:25 "Biggest Mistake" – 3:15 "18 Years" – 2:56 "Sidewalk Graves" – 3:40 "Blood Drops" – 5:13 "Hedonist II" – 2:56 "Shoulda Been Me" – 3:19 "Paint" – 3:04 "748" – 3:30 "City of God" – 2:59 "Leave On the Light" – 3:51 "When Bad News Gets Worse" – 3:45