Power Windows (album)
Power Windows is the eleventh studio album by Canadian rock band Rush, released on October 14, 1985 by Anthem Records. After touring in support of their previous album, Grace Under Pressure, the band took a break and reconvened in early 1985 to work on a follow-up; the material continued to display the band's exploration of synthesizer-oriented music, this time with the addition of sampling, electronic drums, a string section, choir, with power being a running lyrical theme. Power Windows was recorded in Montserrat and England with Peter Collins as co-producer and Andy Richards on additional keyboards; the album reached No. 2 in Canada, No. 9 in the United Kingdom, No. 10 in the United States. In January 1986, the album reached platinum certification by the Recording Industry Association of America for one million copies sold in the United States. Rush released five singles from the album between 1985 and 1986: "The Big Money", "Territories", "Manhattan Project", "Mystic Rhythms", "Marathon".
The band supported the album with their 1985–1986 tour. In November 1984, the band ended their concert tour in support of their previous album, Grace Under Pressure. After a short respite, the group started work for a follow-up album in early 1985. Guitarist Alex Lifeson looked back at this period, noted their conscious effort in taking the strongest elements of their previous two records and Grace Under Pressure, capitalising on them for Power Windows. To Lifeson, this resulted in a more satisfying album. In February 1985, Rush had relocated to Elora Sound Studios in Elora, Ontario to write and rehearse new songs. Drummer Neil Peart would write a set of lyrics from the studio's farmhouse while Lifeson and frontman Geddy Lee worked on music to fit Peart's words in the adjacent barn which housed a 24-track recording studio. Peart worked on a small desk in his room, "about the right size for a five-year-old". During this time, Peart researched the Manhattan Project to write lyrics for the same-titled song.
He had a head start, having written outline lyrics for "The Big Money", "Mystic Rhythms", "Marathon" before these sessions had begun. Lee and Lifeson sorted through jams recorded at soundchecks on tour and Lifeson's own tapes of ideas to assemble music for the three tracks, with each song taking up to a week, they began on "Middletown Dreams", "Marathon" once again, "Grand Designs". Having worked out some material, Rush underwent a five-day warm-up tour in Florida in March 1985 to sharpen their performance and to test the new songs on stage prior to recording. Peart continued to work on lyrics in his hotel room in Miami. Following their warm-up gigs, the band returned to Elora and continued working on their new songs, their break away being a positive impact on their work upon returning. Peart had struggled to finish "Territories" and "Manhattan Project", "but now they just fell together". On their first day back at Elora, Peart began work on lyrics for a ballad titled "Emotion Detector" as the group had discussed the possibility of recording one for their new album.
Upon presenting his words to Lee and Lifeson, his lyrics fit to the piece of music that his bandmates were working on at the time. This was followed by Rush arranging the music for "Emotion Detector" and "Territories", after which they had assembled a demo tape of seven new songs ready to present to Collins for recording. In 1985, Peart told an interviewer that Rush's sound "is changing from having been progressive to not being progressive", he noted that despite the album might "seem simpler", it was just as difficult to compose and perform. Lifeson expressed some resistance to the emphasis on keyboards during this period of their history, he noted the trend began on Signals which pushed his guitar parts too far into the background as a result. However, he thought Rush achieved a much greater balance of the two instruments on Power Windows, which he thought Moving Pictures had. Rush recorded Power Windows from April to August 1985 in five different recording studios; the group recorded Power Windows with Peter Collins.
During their warm-up gigs in Florida, the band first met Australian engineer James "Jimbo" Barton who Collins had recommended. They accepted, Peart praised Barton's contributions and suggestions to the band, considering his small recommendations to improve a song, which he referred to as "events", was "just what we were looking for". Lifeson compared the experience of recording Power Windows as more pleasant and fun than Grace Under Pressure, which presented various problems for the band, he added that the album contained elements that Rush had not incorporated before and broke several boundaries that had existed with previous albums. Lee supported this view, said the group decided "not to hold anything back" and make the album first and worry about presenting the music on stage later. Recording began at The Manor Studios in Oxfordshire, where the basic rhythm and bass tracks were recorded more than usual, in the span of five weeks, to capture more spontaneous performances ready for overdubs.
Here, the music was recorded using two Studer A800 24-track tape machines with an SSL console. It was during sessions at The Manor where Rush brought in musician Andy Richards to play additional synthesizers and assist in their programming, his rig consisted of a PPG Wave 2.3 synthesizer connected to a Roland Super Jupiter module through a MIDI system, a Yamaha QX-1 digital sequencer, a Roland Jupiter-8 and Yamaha DX7 synthesizer. In one incident, Peart's drum technician Larry Allen drove with him to London to collect a set of African and Indian drums to use on "Mystic Rhythms", bongos for "Territories". In May 1985, the band had relocated to A
Alexandar Zivojinovich, better known by his stage name Alex Lifeson, is a Canadian musician, singer and record producer, best known as the guitarist of the progressive rock band Rush. In 1968, Lifeson co-founded the band that would become Rush, with drummer John Rutsey and bassist and singer Jeff Jones. Jones was replaced by Geddy Lee a month and Rutsey was replaced by Neil Peart in 1974. With Rush, Lifeson plays electric and acoustic guitars, as well as other string instruments such as mandola and bouzouki, he performs backing vocals in live performances, plays keyboards and bass pedal synthesizers. Like the other members of Rush, Lifeson performs real-time on-stage triggering of sampled instruments, concurrently with his guitar playing; the bulk of Lifeson's work in music has been with Rush, although Lifeson has contributed to a body of work outside the band as well. Aside from music, Lifeson is part-owner of The Orbit Room, a bar and restaurant in Toronto, a painter and a licensed aircraft pilot.
Along with his bandmates Geddy Lee and Neil Peart, Lifeson was made an Officer of the Order of Canada on 9 May 1996. The trio was the first rock band to be so honoured, as a group. In 2013, he was inducted with Rush into the Roll Hall of Fame. Lifeson was ranked 98th on Rolling Stone's list of the 100 greatest guitarists of all time, third in a Guitar World readers poll listing the 100 greatest guitarists. Lifeson was born as Alexandar Zivojinovich in Fernie, British Columbia, to Serbian immigrants and Melanija Živojinović, raised in Toronto, Ontario, his stage name of "Lifeson" is a semi-literal translation of the surname Živojinović, which means "son of life" in Serbian. His first exposure to formal music training came in the form of the viola, which he renounced for the guitar at the age of 12, his first guitar was a Christmas gift from his father, a six-string Kent classical acoustic, upgraded to an electric Japanese model. During his adolescent years, he was influenced by Jimi Hendrix, Pete Townshend, Jeff Beck, Eric Clapton, Jimmy Page, Steve Hackett, Allan Holdsworth.
I remember sitting at my record player and moving the needle back and forth to get the solo in'Spoonful.' But there was nothing I could do with Hendrix." In 1963 Lifeson met future Rush drummer John Rutsey in school. Both interested in music, they decided to form a band. Lifeson was a self-taught guitarist with the only formal instruction coming from a high school friend in 1971 who taught classical guitar lessons; this training lasted for a year and a half. Lifeson recalls what inspired him to play guitar in a 2008 interview: My brother-in-law played flamenco guitar, he lent his guitar to me and I grew to like it. When you're a kid, you don't want to play an accordion, but your parents might want you to play one if you're from a Yugoslavian family like me. Lifeson's first girlfriend, gave birth to their eldest son, Justin, in October 1970, they married in 1975, their second son, was born two years later. Adrian is involved in music, performed on two tracks from Lifeson's 1996 solo project, Victor.
Lifeson's neighbour John Rutsey began experimenting on a rented drum kit. In 1963, Lifeson and Rutsey formed The Projection, which became Rush in August 1968 following the recruitment of original bassist and vocalist Jeff Jones. Geddy Lee, a high school friend of Lifeson, assumed this role soon after. Instrumentally, Lifeson is renowned for his signature riffing, electronic effects and processing, unorthodox chord structures, the copious arsenal of equipment he has used over the years. Rush was on hiatus for several years starting in 1997 owing to personal tragedies in Neil Peart's life, Lifeson had not picked up a guitar for at least a year following those events. However, after some work in his home studio and on various side projects, Lifeson returned to the studio with Rush to begin work on 2002's Vapor Trails. Vapor Trails is the first Rush album since the 1970s to lack keyboards—as such, Lifeson used over 50 different guitars in what Shawn Hammond of Guitar Player called "his most rabid and experimental playing ever."
Geddy Lee was amenable to leaving keyboards off the album due in part to Lifeson's ongoing concern about their use. Lifeson's approach to the guitar tracks for the album eschewed traditional riffs and solos in favour of "tonality and harmonic quality."During live performances, he used foot pedals to cue various synthesizer and backing vocal effects as he played. While the bulk of Lifeson's work in music has been with Rush, his first major outside work was his solo project, released in 1996. Victor was attributed as a self-titled work; this was done deliberately as an alternative to issuing the album explicitly under Lifeson's name. The title track is from the W. H. Auden poem entitled "Victor". Both son Adrian and wife Charlene contributed to the album. A follow-up album including vocals by Sarah McLachlan, was rumoured in the late 1990s, but was shelved due to Atlantic Records' lack of support for the first album. Lifeson has contributed to a body of work outside his involvement with the band in the form of instrumental contributions to other musical outfits.
He made a guest appearance on the 1985 Platinum Blonde album Alien Shores performing guitar solos on the songs "Crying Over You" and "Holy Water". In 1990, he appeared on Lawrence Gowan's album, Lost Brot
The Spirit of Radio
"The Spirit of Radio" is a song released in 1980 by the Canadian rock band Rush from their album Permanent Waves. The song's name was inspired by Toronto radio station CFNY-FM's slogan, it was significant in the growing popularity of the band. "The Spirit of Radio" features the band experimenting with a reggae style in its closing section. Reggae would be explored further on the band's next three records, Moving Pictures and Grace Under Pressure; the group had experimented with reggae-influenced riffs in the studio and had come up with a reggae introduction to "Working Man" on their tours, so they decided to incorporate a passage into "The Spirit of Radio", as guitarist Alex Lifeson said, "to make us smile and have a little fun". Lyrically, the song is a lament on the change of FM radio from free-form to commercial formats during the late 1970s; the Toronto-based station CFNY-FM is cited as an inspiration for the song. "The Spirit of Radio" was named one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll and was among five Rush songs inducted into the Canadian Songwriters Hall of Fame on March 28, 2010.
They had grazed the UK Top 40 two years earlier with "Closer to the Heart", but when issued as a single in March 1980, "The Spirit of Radio" soon reached #13 on the UK Singles Chart. It remains their biggest UK hit to date. In the US, the single peaked at #51 on the Billboard Hot 100 in 1980 and #22 in Canada, in 1998 a live version of the song reached #27 on the Mainstream Rock Charts. Promotional 12-inch copies were released in the United States late 1979 with the B-sides of "Working Man" and "The Trees", the song being incorrectly titled "The Spirit of the Radio". List of Rush songs Official Rush website Dedicated to the old CFNY Current CFNY
Permanent Waves is the seventh studio album by the Canadian rock band Rush, released in January 1980 on Anthem Records. After touring to support the band's previous album Hemispheres ended, the band members took a short break before they regrouped to work on new material; the album marked a departure in the band's musical style towards tighter song structures and songs more suitable for radio airplay. Permanent Waves was recorded in late 1979 at Le Studio in Morin Heights and with co-producer Terry Brown and mixed at Trident Studios in London. Permanent Waves received a positive reception from critics, became the band's most successful album at the time of release, reaching number 3 in Canada and the United Kingdom and number 4 in the United States; the album was certified platinum in the latter by the Recording Industry Association of America for selling one million copies. Rush released "The Spirit of Radio," "Freewill" and "Entre Nous" as singles, supported the album with a 1979–1980 tour.
In June 1979, the band finished its eight-month tour of the United States and Europe in support of its sixth studio album, Hemispheres. The tour had taken its toll on the group and, for the first time in the band's history, each member agreed to take a six-week break before starting work on a new album, they regrouped in mid-July 1979 at Lakewoods Farm near Flesherton, Ontario to write and rehearse new material for two weeks. They set up their equipment in the basement and put down what Peart described as "a giant hodge-podge of instrumental mish-mash," titled "Uncle Tounouse," during the first session; the piece was not developed further, but sections of it were used as the basis of passages on other songs they would record. A typical day's schedule involved Lifeson cooking breakfast for the trio, after which Lifeson and Lee worked on musical ideas while Peart gathered his notes and walked to a nearby cottage to write lyrics, with "Entre Nous" being the only set completed prior to their arrival at Lakewoods Farm.
This routine had a productive effect on the three, with "The Spirit of Radio," "Freewill" and "Jacob's Ladder" being put down within several days without considerable effort. Peart attempted to write a song based on Sir Gawain and the Green Knight, the 14th-century epic set in King Arthur's time, but it was abandoned after it was deemed too out of place with the other material. With some material prepared for Permanent Waves, Rush moved into Sound Kitchen Studio in northern Toronto, Ontario with their producer Terry Brown to put their ideas onto tape. "The Spirit of Radio," "Freewill" and "Jacob's Ladder" were further polished on the warm-up tour during soundchecks, by early September, "The Spirit of Radio" and "Freewill" were being performed live. In September 1979, Rush headed to Le Studio in Morin Heights, Quebec to record Permanent Waves with Brown and engineer Paul Northfield. Having recorded their previous two studio albums in Wales the band felt it was time for a change and chose Trident Studios in London, but cancelled due to the high costs of studio time and accommodation.
The idea of working in a busy city environment became something they now wished to avoid, instead sought a remote location. The recording sessions involved the band tweaking the settings of instruments and positioning of microphones, they recorded. While Lee and Brown began overdubs, Peart began attempting to write another longer song, after enduring three days of writer's block, "Natural Science" was born. Fin Costello was brought in to photograph the band in the studio. Cover art director Hugh Syme was brought in and recorded a piano solo on "Different Strings". Music was composed for "Natural Science", with some parts reused from the discarded "Green Knight"; the water sounds at the beginning of the song were created by splashing oars in the private lake, performed by Brown and studio assistant Kim Bickerdike, the natural echo outside was used to record various instruments. The rough mixes on the album were complete, the final mix was completed in two weeks at Trident Studios. Upon the album's completion, Lifeson felt unsure about the record and for a period of time, could not listen to it due to his feeling that it failed to present any fresh ideas.
His opinion changed when he first heard the album on the radio after its release, realising he had overreacted. "The Spirit of Radio" featured the band's early experiments with a reggae style in its closing section, explored further on the band's next three albums, Moving Pictures and Grace Under Pressure. The group had experimented with reggae-influenced riffs in the studio and had come up with a reggae introduction to "Working Man" on their tours, so they decided to incorporate a passage into "The Spirit of Radio," as Lifeson said, "to make us smile and have a little fun." Peart wrote the lyrics with Toronto radio station CFNY-FM in mind which had adopted the title as its slogan. The song "Jacob's Ladder" uses multiple time signatures, possesses a dark, ominous feel in its first half, its lyrics are based on a simple concept. The title is a reference to the natural phenomenon of the sun breaking through the clouds in visible rays, which in turn is named after the Biblical ladder to heaven on which Jacob saw angels ascending and descending in a vision.
Early in Rush's 2015 R40 Live Tour, Geddy Lee incorrectly stated that the song had never been played live before, but was corrected by fans on the internet. The live albums Exit... Stage Left and R40 Live include performances of "Jacob's Ladder". "Entre Nous" did not receive heavy radio airplay, was not performed live until
Canada is a country in the northern part of North America. Its ten provinces and three territories extend from the Atlantic to the Pacific and northward into the Arctic Ocean, covering 9.98 million square kilometres, making it the world's second-largest country by total area. Canada's southern border with the United States is the world's longest bi-national land border, its capital is Ottawa, its three largest metropolitan areas are Toronto and Vancouver. As a whole, Canada is sparsely populated, the majority of its land area being dominated by forest and tundra, its population is urbanized, with over 80 percent of its inhabitants concentrated in large and medium-sized cities, many near the southern border. Canada's climate varies across its vast area, ranging from arctic weather in the north, to hot summers in the southern regions, with four distinct seasons. Various indigenous peoples have inhabited what is now Canada for thousands of years prior to European colonization. Beginning in the 16th century and French expeditions explored, settled, along the Atlantic coast.
As a consequence of various armed conflicts, France ceded nearly all of its colonies in North America in 1763. In 1867, with the union of three British North American colonies through Confederation, Canada was formed as a federal dominion of four provinces; this began an accretion of provinces and territories and a process of increasing autonomy from the United Kingdom. This widening autonomy was highlighted by the Statute of Westminster of 1931 and culminated in the Canada Act of 1982, which severed the vestiges of legal dependence on the British parliament. Canada is a parliamentary democracy and a constitutional monarchy in the Westminster tradition, with Elizabeth II as its queen and a prime minister who serves as the chair of the federal cabinet and head of government; the country is a realm within the Commonwealth of Nations, a member of the Francophonie and bilingual at the federal level. It ranks among the highest in international measurements of government transparency, civil liberties, quality of life, economic freedom, education.
It is one of the world's most ethnically diverse and multicultural nations, the product of large-scale immigration from many other countries. Canada's long and complex relationship with the United States has had a significant impact on its economy and culture. A developed country, Canada has the sixteenth-highest nominal per capita income globally as well as the twelfth-highest ranking in the Human Development Index, its advanced economy is the tenth-largest in the world, relying chiefly upon its abundant natural resources and well-developed international trade networks. Canada is part of several major international and intergovernmental institutions or groupings including the United Nations, the North Atlantic Treaty Organization, the G7, the Group of Ten, the G20, the North American Free Trade Agreement and the Asia-Pacific Economic Cooperation forum. While a variety of theories have been postulated for the etymological origins of Canada, the name is now accepted as coming from the St. Lawrence Iroquoian word kanata, meaning "village" or "settlement".
In 1535, indigenous inhabitants of the present-day Quebec City region used the word to direct French explorer Jacques Cartier to the village of Stadacona. Cartier used the word Canada to refer not only to that particular village but to the entire area subject to Donnacona. From the 16th to the early 18th century "Canada" referred to the part of New France that lay along the Saint Lawrence River. In 1791, the area became two British colonies called Upper Canada and Lower Canada collectively named the Canadas. Upon Confederation in 1867, Canada was adopted as the legal name for the new country at the London Conference, the word Dominion was conferred as the country's title. By the 1950s, the term Dominion of Canada was no longer used by the United Kingdom, which considered Canada a "Realm of the Commonwealth"; the government of Louis St. Laurent ended the practice of using'Dominion' in the Statutes of Canada in 1951. In 1982, the passage of the Canada Act, bringing the Constitution of Canada under Canadian control, referred only to Canada, that year the name of the national holiday was changed from Dominion Day to Canada Day.
The term Dominion was used to distinguish the federal government from the provinces, though after the Second World War the term federal had replaced dominion. Indigenous peoples in present-day Canada include the First Nations, Métis, the last being a mixed-blood people who originated in the mid-17th century when First Nations and Inuit people married European settlers; the term "Aboriginal" as a collective noun is a specific term of art used in some legal documents, including the Constitution Act 1982. The first inhabitants of North America are hypothesized to have migrated from Siberia by way of the Bering land bridge and arrived at least 14,000 years ago; the Paleo-Indian archeological sites at Old Crow Flats and Bluefish Caves are two of the oldest sites of human habitation in Canada. The characteristics of Canadian indigenous societies included permanent settlements, complex societal hierarchies, trading networks; some of these cultures had collapsed by the time European explorers arrived in the late 15th and early 16th centuries and have only been discovered through archeological investigations.
The indigenous population at the time of the first European settlements is estimated to have been between 200,000
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
Uncut magazine, trademarked as UNCUT, is a monthly publication based in London. It is available across the English-speaking world, focuses on music, but includes film and books sections. A DVD magazine under the Uncut brand was published quarterly from 2005 to 2006. Uncut was launched in May 1997 as "a monthly magazine aimed at 25- to 45-year-old men that focuses on music and movies", edited by Allan Jones. Jones has stated that "he idea for Uncut came from my own disenchantment about what I was doing with Melody Maker. There was a publishing initiative to make the audience younger. According to IPC Media, 86% of the magazine's readers are male and their average age is 37 years. Uncut's contents include lengthy features on old albums, interviews with film directors and film news, reviews of all major new album, film and DVD releases, its music features tend to focus on genres such as Americana and alternative country. Each month the magazine includes a free CD. Special Issues have covered U2, Bob Dylan, Bruce Springsteen, The Byrds, David Bowie, Demon Records, Eric Clapton, John Lennon, Pink Floyd, Martin Scorsese, Motown Records, George Harrison, Jimmy Page, Led Zeppelin, The Beach Boys, Paul McCartney, Neil Young, The Beatles, Elvis Costello, The Kinks, Fleetwood Mac and more.
Uncut underwent a radical redesign in May 2006, as a result of which the magazine no longer catered for books and reduced its film content. Allan Jones writes a regular monthly column, recounting stories from his long career in music journalism. Uncut's monthly circulation has dropped from over 90,000 in 2007 to 47,890 in the second half of 2015. Uncut produces themed spin-off titles celebrating the career of one artist; this series has been known as Uncut Legends. Artists who have so far had magazines devoted to them include Radiohead, Kurt Cobain, U2, Bruce Springsteen, Tom Waits and John Lennon; the Lennon magazine was produced to commemorate the 25th anniversary of the death of the former Beatle. The majority of these titles have been produced by magazine editor Chris Hunt; the series started in 2003 with an inaugural issue devoted to Bob Dylan, edited by Nigel Williamson. In 2008 Uncut launched their inaugural Uncut Music Award, described as "a quest to find the most inspiring and rewarding musical experience of the past 12 months."
A list of 25 nominees is selected by a panel of 10 judges, who are all musicians or music industry professionals, they come together to decide a winner. Past winners have included Fleet Foxes, Paul Weller and P. J. Harvey. In late 2005, Allan Jones and publishing director Andrew Sumner launched a spin-off of the main movies and music magazine, that focused its attention on DVD releases of classic movies. Billed as "the only great movie magazine," Uncut DVD was designed to compete with such established titles as Ultimate DVD, DVD Review and DVD Monthly. Despite strong reviews in the UK trade press, Uncut DVD folded after three quarterly issues