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
Pauline Matthews, better known by her stage name Kiki Dee, is an English singer born in Little Horton, West Riding of Yorkshire. Known for her blue-eyed soul vocals, she was the first female singer from the UK to sign with Motown's Tamla Records. Dee is best known for her 1974 hit "I've Got the Music in Me" and "Don't Go Breaking My Heart", her 1976 duet with Elton John, which went to Number 1 both in the UK Singles Chart and the US Billboard Hot 100 chart. In 1993 she performed another duet with Elton John for his Duets album, a cover version of Cole Porter's "True Love", which reached No. 2 in the UK. During her career, she has released three EPs and 12 albums. Kiki Dee was born on 6 March 1947, in England. At age 10 she won a local talent contest. At age 16 she had her first paid job in show business. "I realised when I sang at family parties and Christmases I'd get everyone's attention and, being the youngest of three, I thought what a brilliant attention-seeking ploy it was," says Kiki in a 2013 interview.
She went on to say: "My older brother had a lot of Elvis on vinyl and, my first introduction to music during the Fifties." Working at Boots in Bradford at age 16 during the day, in the evenings she sang songs with a dance band in Leeds. A record scout invited her to London to do an audition. There in 1963 she signed as a solo artist to Fontana Records. Kiki Dee began singing with a local band in Bradford in the early 1960s, her recording career began as a session singer. She sang backing vocals for Dusty Springfield, among others, was well regarded by other singers but did not achieve solo success in the UK for many years. In 1963 Dee released her first single "Early Night", recorded her debut album I’m Kiki Dee, which included a series of Phil Spector style tracks and covers for Fontana Records, her 1966 release "Why Don't I Run Away From You" was a big hit on Radio London and Radio Caroline, she sang the B side "Small Town" in her appearance in Dateline Diamonds the same year. Her 1968 release "On a Magic Carpet Ride", a B-side, has remained popular with the Northern Soul circuit.
Much of her early recorded work for Fontana Records was released on 24 January 2011, on the CD compilation I'm Kiki Dee. Songwriter Mitch Murray created her stage name and penned her first single, "Early Night". In the United States she became the first white British artist to be signed by Motown, releasing her first Motown single in 1970. In the days before BBC Radio 1, Dee was a regular performer of cover versions on BBC Radio, she starred with a group of session singers in the BBC Two singalong series, One More Time, she appeared in an early episode of The Benny Hill Show in January 1971, performing the Blood and Tears hit, "You've Made Me So Very Happy". It was only after she signed with Elton John's label named The Rocket Record Company that she became a household name in the UK, her first major solo hits were "Amoureuse" and "I've Got the Music in Me", the latter credited to the Kiki Dee Band. In addition to her burgeoning career as a lead vocalist, she could sometimes be heard singing backing vocals on various Elton John recordings, such as "All the Girls Love Alice" on "Goodbye Yellow Brick Road" and various tracks on Rock of the Westies.
Her biggest hit came in 1976 when she replaced an ailing Dusty Springfield for the recording of a duet with John, "Don't Go Breaking My Heart". The single reached No. 1 in both the UK and US, remaining at the top for six weeks in the UK. After a quiet period in the late 1970s, Dee launched a comeback in 1981, releasing one of her biggest hits, "Star", written by Doreen Chanter of the Chanter Sisters; this became the theme music to the BBC1 programme Opportunity Knocks between 1987 and 1990. In 1981, Dee joined forces again with Elton John, recording a cover of the Four Tops' song "Loving You Is Sweeter Than Ever", written by Ivy Jo Hunter and Stevie Wonder. Both of these were included on her album Perfect Timing, which became a modest hit on the album chart. In 1983, she supplied backing vocals to Elton John's album Too Low for Zero. Dee sang the song "What Can't Speak Can't Lie", composed and recorded by the Japanese jazz fusion group Casiopea, with lyrics by Gary Osborne. In 1985 she performed at Live Aid, reprising "Don't Go Breaking My Heart" with John, performing backing vocals on the other songs in his set.
In 1992, she contributed backing vocals on John's The One album, a year recorded "True Love" with John for his 1993 Duets album. Dee released the live album Almost Naked a joint effort between Kiki Dee and Carmelo Luggeri in 1995 followed by the studio albums Where Rivers Meet and The Walk Of Faith with musical partner Carmelo Luggeri. In September 2013 Dee and Luggeri released their third studio album A Place Where I Can Go on Spellbound recordings. Dee's single. Dee has appeared in musical theatre, notably in the lead role in Willy Russell's West End musical Blood Brothers, in which she took on the role played by Barbara Dickson for the 1988 production and recording, she received an Olivier Award nomination in 1989 in the Best Actress in a Musical category. In 1990, she contributed to the last recording studio collaboration between Alan Parsons and Eric Woolfson, on the album Freudiana, performing "You're On Your Own" and part of "No One Can Love You Better Than Me". In 2008, Dee's first DV
Woman Don't You Cry for Me
"Woman Don't You Cry For Me" is a song by English musician George Harrison, released as the opening track of his 1976 album Thirty Three & 1/3. Harrison started writing the song in Gothenburg, Sweden in 1969. Along with his friend, fellow guitarist Eric Clapton, Harrison was on a European tour at the time with Delaney & Bonnie and Friends. Delaney Bramlett handed Harrison a bottleneck slide guitar, which he began to play around with. One of the first results of Harrison's discovery of this instrument was "Woman Don't You Cry For Me". Harrison said that the title of the song might have been suggested by Bramlett. Harrison stated that the song went on his 1970 triple album All Things Must Pass, but did not appear until 1976 and Thirty Three & 1/3. In May 1977, the song appeared as the B-side to the third single off the album in the UK, "It's What You Value"."Woman Don't You Cry for Me" was another creation in a seam of bottleneck-inspired Harrison tunes from the period − "Sue Me, Sue You Blues", "I Dig Love", "Māya Love" and "Hari's on Tour" being others.
The song is in open E. In November 2011, an early take of "Woman Don't You Cry for Me" was included on the deluxe edition CD for the British DVD release of the Martin Scorsese-directed documentary George Harrison: Living in the Material World; this version is included on Early Takes: Volume 1. George Harrison – vocals, slide guitars, jew's harp David Foster – clavinet Richard Tee – organ Willie Weeks – bass Alvin Taylor – drums Tom Scott – baritone saxophones Lyrics of this song at MetroLyrics
Narada Michael Walden
Narada Michael Walden is an American singer, songwriter and record producer. He acquired the nickname Narada from Sri Chinmoy. Walden was a member of rock bands in Miami, after he graduated from college. Atlantic released his first album, Garden of Love Light, in 1977 with a single that reached the R&B chart; this was followed by The Awakening. The latter album reached No. 15 on the R&B chart. His singles continued to be popular in R&B during the 1980s; these included a duet with Patti Austin and an appearance on the soundtrack for the movie Bright Lights, Big City. He built his studio in 1985 and produced music for The Temptations, Stacy Lattisaw, Aretha Franklin, Angela Bofill, Lisa Fischer, Sister Sledge, Herbie Hancock, Patti Austin, Whitney Houston, Clarence Clemons, George Benson, Kenny G, Lionel Richie, Al Jarreau, Mariah Carey. Walden has been nominated for 8 Grammy Awards, winning 3: Best R&B Song for "Freeway of Love". Garden of Love Light I Cry, I Smile Awakening The Dance of Life Victory Confidence Looking at You, Looking at Me The Nature of Things (Warner Bros. 1985 Divine Emotion Sending Love to Everyone Thunder Love Lullabies for Kelly Evolution Perfect Licence to Kill The Bodyguard Jason's Lyric 9½ Weeks Crooklyn Free Willy Mannequin The Associate Now and Again Innerspace Bright Lights, Big City Mahavishnu Orchestra – Apocalypse, Visions of the Emerald Beyond, Inner Worlds Tommy Bolin – "Marching Powder" on Teaser Chick Corea – My Spanish Heart Jeff Beck – Wired Alphonso Johnson – Moonshadows Nova – Vimana Allan Holdsworth – Velvet Darkness Jaco Pastorius – "Come On, Come Over" on Jaco Pastorius Weather Report – "Black Market" and "Cannon Ball" on Black Market James Mason – Rhythm Of Life John McLaughlin – Johnny McLaughlin: Electric Guitarist Robert Fripp – "Breathless", "NY3", "I've Had Enough of You" on Exposure Carlos Santana – Oneness: Silver Dreams – Golden Reality Regina Belle – "Baby come to me" George Benson – "Kisses in the moonlight" and "While the City Sleeps" Angela Bofill – "Too Tough", "Tonight I Give In", "I'm on Your Side" Tevin Campbell – "Tell Me What You Want Me to Do" Carl Carlton – "The Bad CC" Mariah Carey – "Vision of Love", "I Don't Wanna Cry" Ray Charles – Genius & Friends Clarence Clemons – Hero Natalie Cole – "I Do" Sheena Easton – "So Far, So Good" from About Last Night, No Sound but a Heart and My Cherie Brian Evans – "At Fenway" Aretha Franklin – Who's Zoomin' Who?, Through the Storm, "Everyday People", A Rose Is Still a Rose Michelle Gayle – "Sweetness", "Freedom", "Happy Just to Be with You", "Baby Don't Go", "All Night Long" Al Green – "Your Heart's in Good Hands" Taral Hicks – "Whoopty Whoop", "Don't Let the Feelin' Go Away", "I Wish You Were Here" Whitney Houston – "One Moment in Time", "How Will I Know", Whitney, I'm Your Baby Tonight Phyllis Hyman Al Jarreau – Heaven and Earth Elton John & Kiki Dee – "True Love" Gladys Knight – "Licence to Kill" Stacy Lattisaw – Let Me Be Your Angel, With You, Sneakin' Out and Perfect Combination.
LaToya London – "Every Part of Me," "Learn to Breathe," and "State of My Heart" Luba – "How Many" Milira – "One man woman" Eddie Murphy – "Put Your Mouth on Me," "Till the Money's Gone" from So Happy Don Novello and Cat McLean – "Everyone Is Free to Wear Camouflage" Pointer Sisters – "Be There" Diana Ross – Take Me Higher Sister Sledge – All American Girls Jermaine Stewart – "We Don't Have to Take Our Clothes Off" The Temptations – Awesome Shanice Wilson – "I Love Your Smile","I Hate to Be Lonely", "Love Is the Gift" Steve Winwood – Junction Seven Pia Zadora – "Pia Z" Official website
Learning How to Love You
"Learning How to Love You" is a song by English musician George Harrison, released in 1976 as the closing track of his debut album on his Dark Horse record label, Thirty Three & 1/3. Harrison wrote the song for Herb Alpert, sometime singer and co-head of A&M Records, which at the time was the worldwide distributor for Dark Horse. Although the relationship with A&M soured due to Harrison's failure to deliver Thirty Three & 1/3 on schedule, resulting in litigation and a new distribution deal with Warner Bros. Records, Harrison still dedicated the song to Alpert in the album's liner notes. Music critics note the influence of light jazz and soul in the composition, similar to the work of songwriter Burt Bacharach, Harrison himself considered "Learning How to Love You" to be the best song he had written since his much-covered Beatles hit "Something"; the recording features prominent Fender Rhodes piano from New York musician Richard Tee, a horn and flute arrangement by Tom Scott. The song was issued as the B-side to Harrison's two US hit singles in 1976–77, "This Song" and "Crackerbox Palace".
A&M Records, co-founded by American musician and composer Herb Alpert and Jerry Moss in 1962, had a reputation as an "artist-friendly" international record company, a factor that led to George Harrison agreeing terms with A&M to serve as distributors for his Dark Horse Records label in May 1974. Artists such as Ravi Shankar, Splinter and Attitudes had all recorded for Dark Horse before Harrison was able to sign with A&M as a Dark Horse act himself, following the expiration of his contract with EMI-affiliated Apple Records in January 1976. Around that time and Alpert were working in neighbouring studios at A&M's recording facility on La Brea Avenue, when Alpert asked him to provide a song for his forthcoming solo album. Although Alpert was best known as a trumpeter through his success with the Tijuana Brass, he had a US number 1 hit in 1968 with the original version of "This Guy's in Love with You", written by Burt Bacharach and lyricist Hal David. Harrison recalls in his 1980 autobiography, I, Me, that he admired Alpert's singing voice on "This Guy's in Love with You", so "thought I'd try and write a vocal, something with that sort of mood".
According to Eight Arms to Hold You authors Chip Madinger and Mark Easter, Harrison's working title for the new composition was "Herb's Tune". In her introduction to the 2002 edition of I, Me, Olivia Harrison notes that it is her handwriting on the original song lyrics for "Learning How to Love You", which appear on an airmail envelope reproduced in the book. "I wrote the first line of lyrics down for him as he was working out the melody," she writes. "Then he took the pen from my hand and wrote words that would guide him back to the thoughts he wanted to express." These lines became the first verse of what author Alan Clayson describes as a "discreetly jazzy" song about "unconditional spiritual love": While all is still in the night And silence starts its flow Become or disbelieve me Left alone with my heart I'm learning how to love you. In his book on the religious themes found in Harrison's songs, Dale Allison views these lyrics as another statement from the singer regarding the inadequacy of words, since it is silence that "can help conduct us to the Divine".
Silence, Allison continues, is "a friend to be embraced" since "We have spiritual senses as well as physical senses... and the former function best when the latter are temporarily shut down." The lyrics to the song's middle eight show darkness and stillness as "George's spiritual collaborators", freeing his attention from what Allison terms "this world of divertissement to the numinous world within his heart": Love you like you may have never seen Move you more ways than you have been To a point in the time when we see so much more Than the ground that we touch with each step so unsure. Harrison biographer Ian Inglis notes that, despite the third verse's acknowledgement of "teardrops cloud the sight", "the singer is comfortable in the certainty of his emotions", declaring in the song's second chorus: "Left alone with my heart / I know that I can love you."In terms of musical structure, Simon Leng, Harrison's musical biographer, identifies "Learning How to Love You" as marking "a new peak of sophistication" in its composer's ballad writing.
Continuing in the model Harrison established with "Something" in 1969, similar to his melody for early-1970s compositions such as "The Light That Has Lighted the World", the song's verse-choruses feature a chord pattern that descends one semitone on each bar within the root chord of F# major. The middle eight further reflects Harrison's "musical erudition", according to Leng, with its "subtle musical colours invoked by chic major ninth chords" common to jazz. Harrison believed that a number of his post-1970 compositions were equal in quality to "Something", but that the latter song was more recognised because it was the Beatles who recorded it, he named "Learning How to Love You" and the similar-themed "Your Love Is Forever", from 1979's George Harrison album, as two compositions that he considered were as good as "Something". Rather than Alpert, it was Harrison who used the song for his next album, which he would title Thirty Three & 1/3, in honour of both the speed at which an LP record plays and his age when the album was due for release, in June 1976.
Harrison's other activities delayed the start of recording until late spring that year and sessions began on 24 May at FPSHOT, his home studio at Friar Park in Oxfordshire. Working with Tom Scott as his assistant producer, Harrison taped the basic track for "Learning How to Love You" with keyboar
MGM Records was a record label started by the Metro-Goldwyn-Mayer film studio in 1946 for the purpose of releasing soundtrack albums of their musical films. It soon transitioned to a pop music label; the company released soundtrack albums of the music for some of their non-musical films as well, on rare occasions, cast albums of off-Broadway musicals such as The Fantasticks and the 1954 revival of The Threepenny Opera. In one instance, it released the successful soundtrack album of a film made by a rival studio, Columbia Pictures's Born Free, their first soundtrack was of Till the Clouds Roll By, a 1946 film based on the life of composer Jerome Kern. It was the first soundtrack album of a live-action film; the album was issued as a set of four 10-inch 78-rpm records. As in many early MGM soundtrack albums, only eight selections from the film were included on the original version of the album. In order to fit the songs onto the record sides the musical material needed editing and manipulation; this was before tape existed, so the record producer needed to copy segments from the playback discs used on set copy and re-copy them from one disc to another, adding transitions and cross-fades until the final master was created.
Needless to say, it was several generations removed from the original and the sound quality suffered for it. The playback recordings were purposely recorded "dry" otherwise it would come across as too hollow sounding in large movie theatres; this made these albums boxy. MGM Records called these "original cast albums" in the style of Decca's Broadway show cast albums, they coined the phrase "recorded directly from the soundtrack". Over the years the term "soundtrack" began to be applied to any recording from a film, whether taken from the actual film soundtrack or re-recorded in studio; the phrase is sometimes incorrectly used for Broadway cast recordings. While it is correct to call a "soundtrack" a "cast recording" it is never correct to call a "cast recording" a "soundtrack". Among MGM's most successful soundtrack albums were those of the films Good News, Easter Parade, Annie Get Your Gun, Singin' in the Rain, Show Boat, The Band Wagon, Seven Brides for Seven Brothers, Gigi; when the 1939 film The Wizard of Oz was first shown on television in 1956, the label issued a soundtrack album of songs and dialog excerpts recorded directly from the film, as they had done with their LP of music and dialog from Quo Vadis in 1951.
By 1950, magnetic tape had been perfected for recording use. This markedly improved the sound quality on long play albums from 1951 forward. MGM Records issued albums of film scores, including Ben-Hur, King of Kings, Doctor Zhivago, How the West Was Won, the 1967 fake-stereo 70mm re-release of Gone With the Wind, 2001: A Space Odyssey; the Ben-Hur and King of Kings albums were studio recreations of the scores, but done with the original orchestrations. MGM Records released a second soundtrack album of Quo Vadis, this one containing only music from the film. Beginning in the 1990s, authentic soundtrack albums of the musical scores to Ben-Hur and King of Kings became available; the Rhino Records editions of these albums featured the entire scores, including outtakes. Rhino released a full-length two-disc album of the score of Gone With the Wind, recorded from the soundtrack in the original mono; as in the case of the non-musical films, Rhino Records, which obtained the rights to the MGM soundtracks in the 1990s, issued longer versions of their movie musical albums, containing all of the songs and music.
Rhino's license expired at the end of 2011 and the albums Rhino issued are now out of print. Warner Bros. now owns the MGM soundtracks first issued by MGM Records and Warner Bros' WaterTower Music unit now has the rights to release the MGM soundtracks. MGM operated their own record manufacturing plant at Bloomfield, New Jersey, from 1947 until 1972. For several years in the late 1940s-early 1950s, MGM operated a radio syndication business, producing The MGM Theater of the Air and a variety of other series based on inactive movie properties such as Dr. Kildare, Andy Hardy and Crime Does Not Pay; the MGM record pressing plant manufactured the electrical transcriptions used to distribute the shows to local stations. The record manufacturing division was closed. There was a short-lived Metro-Goldwyn-Mayer Records of 1928, which produced recordings of music featured in MGM movies, not sold to the general public but made to be played in movie theater lobbies; these Metro-Goldwyn-Mayer records were manufactured under contract with the studio by Columbia Records.
In the early 1950s, MGM Records was considered one of the "major" record companies due to owning its own manufacturing facilities. Subsidiary Cub Records was launched in the late 1950s and Verve Records was acquired from Norman Granz in December 1960. Other MGM subsidiaries and distributed labels included: Kama Sutra, Heritage and Metro, Leo Hickory, MGM South, Pride, CoBurt, L&R, Lionel. MGM moved into the rock a
Runaway Train (Elton John and Eric Clapton song)
"Runaway Train" is a pop rock song recorded by the British rock-pop musicians Elton John and Eric Clapton. A CD, cassette and 7" vinyl single from Elton John's album The One was released in July 1992, also accompanied by a music video shot the same year, it was used in the Lethal Weapon 3 movie soundtrack. The music for the song was written by Elton John and Olle Romo while the lyrics were written by John's long-time collaborator Bernie Taupin. For the recording of his instrumental part, John used the Roland RD-1000 digital piano. Eric Clapton sings a duet with John for this track. Clapton improvised a couple guitar solos while recording; the song is in the key of G minor. For the studio recordings, Clapton used a capo on the third guitar fret, but never used it for live performances when John and Clapton went on tour in 1992; the song was released in July 1992 as the third single of Elton John's studio album The One and from the Lethal Weapon 3 soundtrack. It was available for several European countries.
A music video to accompany the single was released in late 1992. It consists of video snippets while Clapton and John are performing the song during the 1992 Eric Clapton World Tour in London's Wembley Stadium, it peaked on the United States mainstream rock billboard charts at #10 Taken from the single release liner notes. CD Maxi single"Runaway Train" – 5:23 "Aretha & Elton - Through The Storm" – 4:21 "George Michael & Elton John - Don't Let The Sun Go Down On Me" – 5:49 "Elton John & Cliff Richard - Slow Rivers" – 3:107" vinyl single"Runaway Train" – 5:23 "Elton John - Understanding Women" – 9:31 Eric Clapton – Runaway Train Lyrics