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
"Planet Claire" is the second single released by The B-52's from their self-titled debut album. The single was their second to chart anywhere, at no. 43 in Australia and no. 24 on the US Hot Dance Club Play chart, along with album tracks "Rock Lobster" and "Dance This Mess Around". All tracks written by The B-52's, except. Fred Schneider – vocals, walkie-talkie Kate Pierson – Farfisa organ, synth bass, wailing Cindy Wilson – bongos Ricky Wilson – electric guitar, smoke alarm Keith Strickland – drums, all other sounds
Post-punk is a broad type of rock music that emerged from the punk movement of the 1970s, in which artists departed from the simplicity and traditionalism of punk rock to adopt a variety of avant-garde sensibilities and diverse influences. Inspired by punk's energy and DIY ethic but determined to break from rock cliches, artists experimented with sources including electronic music and black styles like dub, free jazz, disco. Communities that produced independent record labels, visual art, multimedia performances and fanzines developed around these pioneering musical scenes, which coalesced in cities such as London, New York, Melbourne and San Francisco; the early post-punk vanguard was represented by groups such as Siouxsie and the Banshees, Public Image Ltd, the Pop Group, Cabaret Voltaire, Pere Ubu, Gang of Four, Joy Division, Talking Heads, Throbbing Gristle, the Slits, the Cure, the Fall, Au Pairs. The movement was related to the development of ancillary genres such as gothic rock, neo-psychedelia, no wave, industrial music.
By the mid-1980s, post-punk had dissipated while providing the impetus for the New Pop movement as well much subsequent alternative and independent music. Post-punk is a diverse genre. Called "new musick", the terms were first used by various writers in the late 1970s to describe groups moving beyond punk's garage rock template and into disparate areas. Sounds writer Jon Savage used "post-punk" in early 1978. NME writer Paul Morley stated that he had "possibly" invented the term himself. At the time, there was a feeling of renewed excitement regarding what the word would entail, with Sounds publishing numerous preemptive editorials on new musick. Towards the end of the decade, some journalists used "art punk" as a pejorative for garage rock-derived acts deemed too sophisticated and out of step with punk's dogma. Before the early 1980s, many groups now categorized as "post-punk" were subsumed under the broad umbrella of "new wave", with the terms being deployed interchangeably. "Post-punk" became differentiated from "new wave".
Nicholas Lezard described the term "post-punk" as "so multifarious that only the broadest use... is possible". Subsequent discourse has failed to clarify whether contemporary music journals and fanzines conventionally understood "post-punk" the way that it was discussed in years. Music historian Clinton Heylin places the "true starting-point for English post-punk" somewhere between August 1977 and May 1978, with the arrival of guitarist John McKay in Siouxsie and the Banshees in July 1977, Magazine's first album, Wire's new musical direction in 1978 and the formation of Public Image Ltd. Simon Reynolds' 2005 book Rip It Up and Start Again is referenced as post-punk doctrine, although he has stated that the book only covers aspects of post-punk that he had a personal inclination toward. Wilkinson characterized Reynolds' readings as "apparent revisionism and'rebranding'". Author/musician Alex Ogg criticized: "The problem is not with what Reynolds left out of Rip It Up... but, that too much was left in".
Ogg suggested that post-punk pertains to a set of artistic sensibilities and approaches rather than any unifying style, disputed the accuracy of the term's chronological prefix "post", as various groups labeled "post-punk" predate the punk rock movement. Reynolds defined the post-punk era as occurring between 1978 and 1984, he advocated that post-punk be conceived as "less a genre of music than a space of possibility", suggesting that "what unites all this activity is a set of open-ended imperatives: innovation. AllMusic employs "post-punk" to denote "a more adventurous and arty form of punk". Many post-punk artists were inspired by punk's DIY ethic and energy, but became disillusioned with the style and movement, feeling that it had fallen into a commercial formula, rock convention, self-parody, they repudiated its populist claims to accessibility and raw simplicity, instead of seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyond punk's focus on the concerns of a white, working-class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs.
These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form". Though the music varied between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, noise, free jazz, world music, the avant-garde; some previous musical styles served as touchstones for the movement, including particular brands of krautrock, art rock, art pop and other music from the 1960s. Artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as'sterile' studio perfectionism... by adopting an avant-garde aesth
Keith Julian Strickland is an American multi-instrumentalist, singer-songwriter and one of the founding members of The B-52s. He was born in Georgia; the band's drummer, Strickland switched to guitar after the death of guitarist Ricky Wilson in 1985. Strickland plays keyboards and bass guitar on many of The B-52s recordings, has provided backing vocals. Strickland composes the music for The B-52s, he said of the process: "Ricky and I used to write the music together, but now I write the individual instrument parts and arrange the instrumental compositions myself. I'm trying to convey a feeling. I think of my instrumentals as soundscapes - the chord progressions, rhythms and musical direction are used to evoke various sonic atmospheres or moods."Strickland came out as gay in 1992. On December 13, 2012, Strickland retired from touring for the B52s. Fred Schneider said of Strickland's announcement, "We had known about Keith’s decision for a while but we just didn’t want to think about it. Keith will still be available for special shows but he wanted to get off the road.
Keith will always be able to work with us. He’s a best friend." A Life in the Death of Joe Meek The Flintstones Athens, GA: Inside Out One Trick Pony Keith Strickland on IMDb
"Roam" is a song by The B-52's. It was released as the fourth single from the 1989 hit album Cosmic Thing, following " Cosmic Thing," "Channel Z," and "Love Shack." "Roam" was a number-three hit on the Billboard Hot 100 singles chart in March 1990, spending a total of 20 weeks on the chart. It reached number 2 on the airplay and the sales charts, it was certified Gold by the RIAA in April 1990. Worldwide, the song was a top 10 success in Canada and New Zealand, peaking at numbers four and two, respectively; the vocals are sung by Cindy Wilson. In February 1991 The B-52s were nominated for a Grammy Award for Best Pop Vocal Performance by a Duo or Group for "Roam". US Maxi-Single "Roam" - 5:11 "Roam" - 4:13 "Roam" - 8:17 "Bushfire" - 4:56 "Roam" - 5:25 "Roam" - 5:27 "Roam" Time Capsule The Mixes - 7:35 "Roam" Time Capsule The Mixes - 10:10 "Roam" US Cassette Single - 4:01 "Roam" Cosmic Thing - 4:54 A parody of the song and video, called "Comb," was a skit on Fast Forward in 1990 as The B-52's began the Australian leg of their Cosmic Tour.
The video, which poked fun at Pierson's and Wilson's bouffant wigs, starred Gina Riley, Jane Turner, Michael Veitch and Peter Moon as Kate, Cindy and Keith respectively. The song was performed by the cast of the 2002 stage version of Earth Girls Are Easy; the Yayhoos covered. The Argentine female singer Marcela Morelo covered the song on her 2009 album Otro Plan in a Spanish version. Caroline Sunshine covered the song for the soundtrack to the 2012 film Treasure Buddies. Lyrics of this song at MetroLyrics
"Rock Lobster" is a song written by Fred Schneider and Ricky Wilson, two members of The B-52's. It was produced in two versions, one by DB Records released in April 1978, a longer version, part of the band's 1979 self-titled debut album, released by Warner Bros; the song became one of their signature tunes and it helped launch the band's success. "Rock Lobster" was the band's first single to appear on the Billboard Hot 100, where it reached No. 56. A major hit in Canada, the single went all the way to No. 1 in the RPM national singles chart. Its follow-up was "Private Idaho", in October 1980, which reached No. 74 in the US. Rock Lobster was well received by critics and was placed at No. 147 on Rolling Stone's 500 Greatest Songs of All Time. The DB Records single version lasts 4:37 and is faster and rawer than the 1979 Warner single version. However, it has the same lyrics as the second version, but with extra lines in the listing of marine animals; the 1979 single version is an edit itself from the album version, which lasts about seven minutes and contains an extra verse.
According to a "Behind the Vinyl" video with Fred Schneider for CHBM-FM, the song was inspired by a discotheque in Atlanta called "2001", where instead of having a light show, the club featured a slide show with pictures of puppies and lobsters on a grill. The song's lyrics describe a beach party while mentioning both real and imagined marine animals, with absurd noises accompanying each, provided by Kate Pierson on the higher-pitched sounds and Cindy Wilson the lower-pitched ones; the chorus consists of the words "Rock Lobster!" repeated on top of a keyboard line. "Rock Lobster" is in common time. Instruments used in the music include a baritone-tuned surf-style Mosrite electric guitar, a Farfisa Combo Compact organ and drums. Pierson played the song's bass line on a Korg SB-100 synthesizer. Stephen Thomas Erlewine of AllMusic called the song "incredibly infectious" and "memorable". Fred Schneider – lead vocals, cowbell Kate Pierson – backing vocals, Farfisa organ, synth bass Cindy Wilson – backing vocals, tambourine Ricky Wilson – guitar Keith Strickland – drums, percussion The song was well-received overall, was the band's first single to appear on the Billboard Hot 100, where it reached No. 56.
In Canada, released on the Warner Bros. label, the single became a huge hit going on to reach No. 1 in the RPM-compiled national chart on May 24, 1980. Although "Rock Lobster" only reached No. 37 on the UK Singles Chart in August 1979, it fared better there when reissued in 1986, reaching No. 12 as a double A-side with "Planet Claire". In Australia, the single heralded the band's breakthrough and was their first big hit to chart there, peaking at No. 3 in 1980. In the spring of 1980, John Lennon, whose post-Beatles music career had been on hiatus for nearly five years while he helped raise his son Sean, was prompted to record again after hearing "Rock Lobster", his return to the studio led to the release of Double Fantasy. At a 2002 B-52's concert in New York, Yoko Ono joined the band on stage for the performance of this song; the song appears in the Family Guy episodes "The Cleveland–Loretta Quagmire", "Screams of Silence: The Story of Brenda Q" and in the 2008 movie The Pirates Who Don't Do Anything: A VeggieTales Movie.
Early Commodore Amiga 500 units had "B52/ROCK LOBSTER" etched on the main circuit board. The song is playable in the video games Just Dance 4 and Rock Band 3. Panic! at the Disco sampled the song's guitar riff for their song "Don't Threaten Me with a Good Time" from their fifth studio album, Death of a Bachelor. This song was covered by the crossover thrash band Dead Horse on their 1991 album Peaceful Death and Pretty Flowers. List of number-one singles of 1980 "Rock Lobster" at Discogs
Frederick William Schneider III is an American singer, songwriter and musician, best known as the frontman of the rock band The B-52's, of which he is a founding member. Schneider is well known for his sprechgesang. Frederick William Schneider III was born on July 1951, in Newark, New Jersey, he has stated that his musical influences included "Halloween songs and nutty Christmas songs" along with "Motown". He attended the University of Georgia. After college, he was a janitor as well as a Meals on Wheels driver. At the time The B-52's formed, he had little musical experience; the B-52's got their start in 1976 when founders Cindy Wilson, Ricky Wilson, Kate Pierson, Keith Strickland, Schneider played an impromptu number after drinking at a Chinese restaurant in Athens, Georgia. The band played their first real gig in 1977 at a Valentine's Day party for their friends; the band's first single was "Rock Lobster", recorded for DB Records in 1978. It was an underground success, sold over 2,000 copies in total.
In 1979, The B-52's signed a recording contract with Warner Bros. Records for South America, North America and New Zealand, they signed with Island Records for the UK, Europe. After the death of Ricky Wilson in 1985, the band went on hiatus, they reformed in 1989, went on to mainstream success. Schneider has released two solo albums, he worked on a side project called The Superions. The group released a self-titled EP and the album Destination... Christmas! in 2010, in February 2011 began working on a full-length album. Fred Schneider and the Shake Society Just Fred, produced by Steve Albini; the Superions Destination... Christmas! Batbaby "Konnichiwa" Besides working with The B-52's, Schneider has collaborated with a number of artists. Selected examples include: Schneider is featured on the track "Mr. Used-To-Be" on Richard Barone's 1990 album, Primal Dream. Barone co-wrote and arranged on Just Fred, produced Schneider's version of Harry Nilsson's "Coconut" from the Nilsson tribute album For the Love of Harry.
Schneider co-wrote and sang on Barone's Don't Open'Til Doomsday on COLLECTION: An Embarassment of Richard in 2004. He was a guest vocalist on the song "The Power of Pussy" on Bongwater's 1990 album of the same name, he worked with Captain Planet on the "Eco Rap", an updated theme song used for The New Adventures of Captain Planet. Fred Schneider is featured on "Stinky Dinky", Track 9 of RuPaul's 1993 debut album, Supermodel of the World; the 1994-produced track "Do The Funky Something" by Godchildren of Soul features Fred Schneider and could be found on the GOS album Anyone Can Join and on the Rufus Thomas compilation Do The Funky Somethin'. The 1994 compilation Elvira Presents Monster Hits features the track "Here Comes The Bride" sung by Elvira. Schneider co-wrote the song. Possum Dixon's 1998 album New Sheets has the song "Firecracker" written by Schneider; the soundtrack for The Rugrats Movie, released in 1998 contains the track "The World is Something New to Me" and features Schneider and Wilson along with other artists.
He was a guest vocalist on the song "National Anthem of Love" on Joe McIntyre's album Meet Joe Mac. He provided the vocals for the Foo Fighters cover of "Planet Claire", released as a bonus track on the FF's single "Times Like These"; the compilation album Wig in a Box – The Songs From Hedwig and the Angry Inch, released in 2003, features the collaboration of Sleater-Kinney and Schneider on the title "Angry Inch". The 2004 release of the compilation album Trekkies 2 features his collaboration with B-52's part-time keyboarder Pat Irwin "Beam Me Up" He worked with Sophie Ellis-Bextor on some songs for her album Trip the Light Fantastic; the song "Supersonic", on which he worked and for which he provided vocals, appeared on the UK and Australian versions of her album in 2007. Tiny Masters of Today released the album Bang Bang Boom Cake in 2007 and Schneider is featured on the kid's song "Disco Bomb". Schneider provided guest vocals on Deni Bonet's 2010 single "Girl Party"; the track can be found on the album It's All Good, released in 2013.
The album was produced by Richard Barone, an artist Schneider and Kate Pierson had collaborated with. Fred Schneider appears on the Ursula 1000 song "Hey You!" from the album Mondo Beyondo. Schneider and 1000 formed a one-off project called The Fangs, who released a song called "Vampire Vamp" for Halloween 2012. Schneider appears on two titles of the album The Inevitable Album by the artist "Jinkx Monsoon"; the tracks "The Ladies in Drag" and "The Bacon Shake" are only available as a download, like the whole album. Released in 2014, he appears on a title of Jinkx Monsoon's album The Ginger Snapped entitled "She evil", released in 2018. Elvira released a 7" single for Halloween 2014 "2 Big Pumpkins / 13 Nights Of Halloween" in the US. Both tracks are co-written by Fred Schneider. Schneider sang with Mini Mansions on "Cheap Leather", the B-side of their 2015 single "Vertigo". Films in which Fred Schneider has appeared include: Trekkies 2 Each Time I Kill Godass Desert Blue The Rugrats Movie The Flintstones Hangfire A Matter of Degrees Funny Athens, GA: Inside/Out One Trick Pony He is credited alongside Kate Pierson in the Nickelodeon cartoon Rocko's Modern Life for the theme song vocals.
He was a guest in an episode of Space Ghost Coast to Coast. He guest-starred in an episode of Lil' Bush in 2008, he appeared in an episode of The Daily Show on June 2, 200