Vodka Collins is a Tokyo-based Japanese-American rock band, formed in 1971. The core band members are drummer Hiroshi Oguchi, singer-guitarist Alan Merrill, singer-guitarist Hiroshi "Monsieur" Kamayatsu and bassist Take Yokouchi. In reunion recordings in the 1990s, Yokouchi was replaced by Masayoshi "Mabo" Kabe on bass guitar. All of the band's released works are original compositions by the lead singer Alan Merrill; the band has made 5 albums, the most well known being the glam rock album "Tokyo - New York" released in 1973 on EMI records. Other album titles are Chemical Reaction, Pink Soup', Boy's Life and Boys In The Band; the band's most valuable contribution territorially was recording and releasing the first single in the glam rock genre in Japanese, 1973's double a-sided single "Sands Of Time"' and'"Automatic Pilot"' on Toshiba Express records. Vodka Collins were the opening act on the Jackson 5's first show in Japan on April 27, 1973 at the Imperial Theater in Tokyo; the show was broadcast live on Fuji Television.
The band's founding member and drummer Hiroshi Oguchi died January 25, 2009. There was a memorial concert for him with all the original band members performing on stage January 25 of 2010 at the Duo Exchange venue in Tokyo with Grico Tomioka taking Oguchi's place on drums; the band's rhythm guitarist, Monsieur Kamayatsu, died on March 1, 2017. Lead singer Alan Merrill did a memorial concert for Kamayatsu with star guests in Tokyo April 2017 at the Duo Music Exchange. Tokyo – New York ( Chemical Reaction Pink Soup Boy's Life Boys In The Band Vodka Collins website Vodka Collins fansite Vodka Collins site Author Julian Cope's Vodka Collins research Keith Cahoon's Nippop webpages
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
Toshiba Corporation is a Japanese multinational conglomerate headquartered in Tokyo, Japan. Its diversified products and services include information technology and communications equipment and systems, electronic components and materials, power systems and social infrastructure systems, consumer electronics, household appliances, medical equipment, office equipment, as well as lighting and logistics. Toshiba was founded in 1939 as Tokyo Shibaura Denki K. K. through the merger of Shibaura Seisaku-sho and Tokyo Denki. The company name was changed to Toshiba Corporation in 1978, it is listed on the Tokyo Stock Exchange, where it is a constituent of the Nikkei 225 and TOPIX indices, the Osaka Securities Exchange and the Nagoya Stock Exchange. Toshiba is the ninth largest semiconductor manufacturer in the world. In 2017, Toshiba filed unaudited quarterly results because of uncertainties at Westinghouse, which had filed for Chapter 11 bankruptcy protection. Toshiba stated that "substantial doubt about the company's ability to continue as a going concern exists".
Toshiba is organized into four groupings: the Digital Products Group, the Electronic Devices Group, the Home Appliances Group and the Social Infrastructure Group. Midea Group, a Chinese company, bought a controlling 80.1% stake in the Toshiba Home Appliances Group in 2016. Toshiba was founded in 1939 by the merger of Tokyo Denki. Shibaura Seisakusho had been founded as Tanaka Seisakusho by Tanaka Hisashige in July 1875 as Japan's first manufacturer of telegraph equipment. In 1904, it was renamed Shibaura Seisakusho. Through the first decades of the 20th century, Shibaura Seisakusho had become a major manufacturer of heavy electrical machinery as Japan modernized during the Meiji Era and became a world industrial power. Tokyo Denki was founded as Hakunetsusha in 1890 and had been Japan's first producer of incandescent electric lamps, it diversified into the manufacture of other consumer products and in 1899 had been renamed Tokyo Denki. The merger of Shibaura and Tokyo Denki created, it was soon nicknamed Toshiba, but it was not until 1978 that the company was renamed Toshiba Corporation.
The group expanded driven by a combination of organic growth and by acquisitions, buying heavy engineering and primary industry firms in the 1940s and 1950s. Groups created include Toshiba Music Industries/Toshiba EMI, Toshiba International Corporation Toshiba Electrical Equipment, Toshiba Chemical, Toshiba Lighting and Technology, Toshiba America Information Systems and Toshiba Carrier Corporation. Toshiba is responsible for a number of Japanese firsts, including radar, the TAC digital computer, transistor television and microwave oven, color video phone, Japanese word processor, MRI system, laptop personal computer, NAND EEPROM, DVD, the Libretto sub-notebook personal computer and HD DVD. In 1977, Toshiba acquired the Brazilian company Semp, subsequently forming Semp Toshiba through the combination of the two companies' South American operations. In 1987, Tocibai Machine, a subsidiary of Toshiba, was accused of illegally selling CNC milling machines used to produce quiet submarine propellers to the Soviet Union in violation of the CoCom agreement, an international embargo on certain countries to COMECON countries.
The Toshiba-Kongsberg scandal involved a subsidiary of Toshiba and the Norwegian company Kongsberg Vaapenfabrikk. The incident strained relations between the United States and Japan, resulted in the arrest and prosecution of two senior executives, as well as the imposition of sanctions on the company by both countries. Senator John Heinz of Pennsylvania said "What Toshiba and Kongsberg did was ransom the security of the United States for $517 million." In 2001, Toshiba signed a contract with Orion Electric, one of the world's largest OEM consumer video electronic makers and suppliers, to manufacture and supply finished consumer TV and video products for Toshiba to meet the increasing demand for the North American market. The contract ended in 2008. In December 2004, Toshiba announced it would discontinue manufacturing traditional in-house cathode-ray tube televisions. In 2006, Toshiba terminated production of in-house plasma TVs. To ensure its future competitiveness in the flat-panel digital television and display market, Toshiba has made a considerable investment in a new kind of display technology called SED.
Before World War II, Toshiba was a member of the Mitsui Group zaibatsu. Today Toshiba is a member of the Mitsui keiretsu, still has preferential arrangements with Mitsui Bank and the other members of the keiretsu. Membership in a keiretsu has traditionally meant loyalty, both corporate and private, to other members of the keiretsu or allied keiretsu; this loyalty can extend as far as the beer which in Toshiba's case is Asahi. In July 2005, BNFL confirmed it planned to sell Westinghouse Electric Company estimated to be worth $1.8 billion. The bid attracted interest from several companies including Toshiba, General Electric and Mitsubishi Heavy Industries and when the Financial Times reported on 23 January 2006 that Toshiba had won the bid, it valued the company's offer at $5 billion; the sale of Westinghouse by the Government of the United Kingdom surp
Glam rock is a style of rock music that developed in the United Kingdom in the early 1970s performed by musicians who wore outrageous costumes and hairstyles platform shoes and glitter. Glam artists drew on diverse sources across music and throwaway pop culture, ranging from bubblegum pop and 1950s rock and roll to cabaret, science fiction, complex art rock; the flamboyant clothing and visual styles of performers were camp or androgynous, have been described as playing with nontraditional gender roles. "Glitter rock" was another term used to refer to a more extreme version of glam. The UK charts were inundated with glam rock acts from 1971 to 1975, with glam manifesting in all areas of British popular culture during this period; the March 1971 appearance of T. Rex frontman Marc Bolan on the BBC's music show Top of the Pops, wearing glitter and satins, is cited as the beginning of the movement. Other British glam rock artists include David Bowie, Freddie Mercury of Queen, Mott the Hoople, Slade, Elton John, Roxy Music and Gary Glitter.
In the US the scene was much less prevalent, with Alice Cooper and Lou Reed the only American artists to score a hit. Other US glam artists include Iggy Pop and Jobriath, it declined after the mid-1970s, but influenced other musical genres including punk rock, glam metal, New Romantic and gothic rock. Glam rock has sporadically revived since the 1990s. Glam rock can be seen as a fashion as well as musical subgenre. Glam artists rejected the revolutionary rhetoric of the late 1960s rock scene, instead glorifying decadence and the simple structures of earlier pop music. Artists drew on such musical influences as bubblegum pop, the brash guitar riffs of hard rock, stomping rhythms, 1950s rock and roll, filtering them through the recording innovations of the late 1960s, it became diverse, varying between the simple rock and roll revivalism of figures like Alvin Stardust to the complex art pop of Roxy Music. In its beginning, however, it was a youth-oriented reaction to the creeping dominance of progressive rock and concept albums – what Bomp! called the "overall denim dullness" of "a deadly boring, prematurely matured music scene".
Visually it was a mesh of various styles, ranging from 1930s Hollywood glamour, through 1950s pin-up sex appeal, pre-war cabaret theatrics, Victorian literary and symbolist styles, science fiction, to ancient and occult mysticism and mythology. Glam is most noted for its sexual and gender ambiguity and representations of androgyny, beside extensive use of theatrics, it was prefigured by the flamboyant English composer Noël Coward his 1931 song "Mad Dogs and Englishmen", with music writer Daryl Easlea stating, "Noël Coward's influence on people like Bowie, Roxy Music and Cockney Rebel was immense. It suggested style and surface were as important as depth and substance. Time magazine noted Coward's'sense of personal style, a combination of cheek and chic and poise', it reads like a glam manifesto." Showmanship and gender identity manipulation acts included the Cockettes and Alice Cooper, the latter of which combined glam with shock rock. Glam rock emerged from the English psychedelic and art rock scenes of the late 1960s and can be seen as both an extension of, a reaction against, those trends.
Its origins are associated with Marc Bolan, who had renamed his acoustic duo T. Rex and taken up electric instruments by the end of the 1960s. Bolan was, in the words of music critic Ken Barnes, "the man who started it all". Cited as the moment of inception is Bolan's appearance on the BBC music show Top of the Pops in March 1971 wearing glitter and satins, to perform what would be his second UK Top 10 hit, "Hot Love"; the Independent states that Bolan's appearance on Top of the Pops “permitted a generation of teeny-boppers to begin playing with the idea of androgyny”. T. Rex's 1971 album. In 1973, a few months after the release of the album Tanx, Bolan captured the front cover of Melody Maker magazine with the declaration "Glam rock is dead!". From late 1971 a minor star, David Bowie developed his Ziggy Stardust persona, incorporating elements of professional makeup and performance into his act. Bowie, in a 1972 interview in which he noted that other artists described as glam rock were doing different work, said "I think glam rock is a lovely way to categorize me and it's nicer to be one of the leaders of it".
Bolan and Bowie were soon followed in the style by acts including Roxy Music, Slade, Mott the Hoople and Alvin Stardust. The popularity of glam rock in the UK was such that three glam rock bands had major UK Christmas hit singles. Glam was not only a successful trend in UK popular music, it became dominant in all other aspects of British popular culture during the 1970s. A heavier variant of glam rock, emphasising guitar riff centric songs, driving rhythms and live performance with audience participation, were represented by bands like Slade and Mott the Hoople, with followers such as Def Leppard, Cheap Trick, Kiss, Bon Jovi, Quiet Riot, some of which either covered Slade compositions or composed new songs based on Slade templates. While successful in the single charts in the UK few of these musicians were able to make a serious impact in the US.
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
EMI Group Limited was a British Transnational conglomerate founded in March 1931 in London. At the time of its break-up in 2012, it was the fourth largest business group and record label conglomerate in the music industry, was one of the big four record companies; the company was once a constituent of the FTSE 100 Index, but faced financial troubles and US$4 billion in debt, leading to its acquisition by Citigroup in February 2011. Citigroup's ownership was temporary, as EMI announced in November 2011 that it would sell its music arm to Vivendi's Universal Music Group for $1.9 billion and its publishing business to a Sony/ATV consortium for around $2.2 billion. Other members of the Sony consortium include the Estate of Michael Jackson, The Blackstone Group, the Abu Dhabi–owned Mubadala Development Company. EMI's locations in the United Kingdom, the United States, Canada were all disassembled to repay debt, but the primary head office located outside those countries is still functional, it is owned by Sony/ATV Music Publishing, the music publishing division of Sony Music which bought another 70% stake in EMI Music Publishing.
Electric and Musical Industries Ltd was formed in March 1931 by the merger of the Columbia Graphophone Company and the Gramophone Company, with its "His Master's Voice" record label, firms that have a history extending back to the origins of recorded sound. The new vertically integrated company produced sound recordings as well as recording and playback equipment; the company's gramophone manufacturing led to forty years of success with larger-scale electronics and electrical engineering. In 1934, the company developed the electronic Marconi-EMI system for television broadcasting, which replaced Baird's electro-mechanical system following its introduction in 1936. After the war, the company resumed its involvement in making broadcasting equipment, notably providing the BBC's second television transmitter at Sutton Coldfield, it manufactured broadcast television cameras for British television production companies as well as for the BBC. The commercial television ITV companies used them alongside cameras made by Pye and Marconi.
Their best-remembered piece of broadcast television equipment was the EMI 2001 colour television camera, which became the mainstay of much of the British television industry from the end of the 1960s until the early 1990s. Exports of this piece of equipment were low, EMI left this area of product manufacture. Alan Blumlein, an engineer employed by EMI, conducted a great deal of pioneering research into stereo sound recording many years prior to the practical implementation of the technique in the early 1950s, he was killed in 1942 whilst conducting flight trials on an experimental H2S radar set. During and after World War II, the EMI Laboratories in Hayes, Hillingdon developed radar equipment, microwave devices such as the reflex klystron oscillator, electro-optic devices such as infra-red image converters, guided missiles employing analogue computers; the company was for many years an internationally respected manufacturer of photomultipliers. This part of the business was transferred to Thorn as part of Thorn-EMI later became the independent concern Electron Tubes Ltd.
The EMI Electronic Business Machine, a valve and magnetic drum memory computer, was built in the 1950s to process the British Motor Corporation payroll. In 1958 the EMIDEC 1100, the UK's first commercially available all-transistor computer, was developed at Hayes under the leadership of Godfrey Hounsfield, an electrical engineer at EMI. In the early 1970s, with financial support by the UK Department of Health and Social Security as well as EMI research investment, Hounsfield developed the first CT scanner, a device which revolutionised medical imaging. In 1973 EMI was awarded a prestigious Queen's Award for Technological Innovation for what was called the EMI scanner, in 1979 Hounsfield won the Nobel Prize for his accomplishment. After brief, but brilliant, success in the medical imaging field, EMI's manufacturing activities were sold off to other companies, notably Thorn. Subsequently and manufacturing activities were sold off to other companies and work moved to other towns such as Crawley and Wells.
Emihus Electronics, based in Glenrothes, was owned 51% by Hughes Aircraft, of California, US, 49% by EMI. It manufactured integrated circuits electrolytic capacitors and, for a short period in the mid-1970s, hand-held calculators under the Gemini name. Early in its life, the Gramophone Company established subsidiary operations in a number of other countries in the British Commonwealth, including India and New Zealand. Gramophone's Australian and New Zealand subsidiaries dominated the popular music industries in those countries from the 1920s until the 1960s, when other locally owned labels began to challenge the near monopoly of EMI. Over 150,000 78-rpm recordings from around the world are held in EMI's temperature-controlled archive in Hayes, some of which have been released on CD since 2008 by Honest Jon's Records. In 1931, the year the company was formed, it opened the legendary recording studios at Abbey Road, London. During the 1930s and 1940s, its roster of artists included Arturo
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; 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 short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i