Record producer
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
Single (music)
In the music industry, a single is a type of release a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats. In most cases, a single is a song, released separately from an album, although it also appears on an album; these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular. In other cases a recording released. Despite being referred to as a single, singles can include up to as many as three tracks; the biggest digital music distributor, iTunes Store, accepts as many as three tracks less than ten minutes each as a single, as does popular music player Spotify. Any more than three tracks on a musical release or thirty minutes in total running time is either an extended play or, if over six tracks long, an album; when mainstream music was purchased via vinyl records, singles would be released double-sided.
That is to say, they were released with an A-side and B-side, on which two singles would be released, one on each side. Moreover, only the most popular songs from a released album would be released as a single. In more contemporary forms of music consumption, artists release most, if not all, of the tracks on an album as singles; the basic specifications of the music single were set in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercially produced musical recordings. Gramophone discs were manufactured in several sizes. By about 1910, the 10-inch, 78 rpm shellac disc had become the most used format; the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The crude disc-cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, a high rotation speed was necessary to achieve acceptable recording and playback fidelity.
78 rpm was chosen as the standard because of the introduction of the electrically powered, synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm. With these factors applied to the 10-inch format and performers tailored their output to fit the new medium; the 3-minute single remained the standard into the 1960s, when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recorded songs. The breakthrough came with Bob Dylan's "Like a Rolling Stone". Although CBS tried to make the record more "radio friendly" by cutting the performance into halves, separating them between the two sides of the vinyl disc, both Dylan and his fans demanded that the full six-minute take be placed on one side, that radio stations play the song in its entirety; as digital downloading and audio streaming have become more prevalent, it has become possible for every track on an album to be available separately.
The concept of a single for an album has been retained as an identification of a more promoted or more popular song within an album collection. The demand for music downloads skyrocketed after the launch of Apple's iTunes Store in January 2001 and the creation of portable music and digital audio players such as the iPod. In September 1997, with the release of Duran Duran's "Electric Barbarella" for paid downloads, Capitol Records became the first major label to sell a digital single from a well-known artist. Geffen Records released Aerosmith's "Head First" digitally for free. In 2004, Recording Industry Association of America introduced digital single certification due to significant sales of digital formats, with Gwen Stefani's "Hollaback Girl" becoming RIAA's first platinum digital single. In 2013, RIAA incorporated on-demand streams into the digital single certification. Single sales in the United Kingdom reached an all-time low in January 2005, as the popularity of the compact disc was overtaken by the then-unofficial medium of the music download.
Recognizing this, On 17 April 2005, Official UK Singles Chart added the download format to the existing format of physical CD singles. Gnarls Barkley was the first act to reach No.1 on this chart through downloads alone in April 2006, for their debut single "Crazy", released physically the following week. On 1 January 2007 digital downloads became eligible from the point of release, without the need for an accompanying physical. Sales improved in the following years, reaching a record high in 2008 that still proceeded to be overtaken in 2009, 2010 and 2011. Singles have been issued in various formats, including 7-inch, 10-inch, 12-inch vinyl discs. Other, less common, formats include singles on Digital Compact Cassette, DVD, LD, as well as many non-standard sizes of vinyl disc; the most common form of the vinyl single is the 45 or 7-inch. The names are derived from its play speed, 45 rpm, the standard diameter, 7 inches; the 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs.
The first 45
Everybody Hurts
"Everybody Hurts" is a song by American rock band R. E. M. Originally released on the band's 1992 album Automatic for the People and was released as a single in 1993, it peaked at number twenty nine on the Billboard Hot 100, peaked within the top ten of the charts in Canada, the United Kingdom, Ireland and Iceland. Much of the song was written by drummer Bill Berry, although as R. E. M. shares songwriting credits among its members, it is unknown how much he wrote. Berry's drums are absent from the song—a Univox drum machine took his place—but he was responsible for the sampling of the drum pattern on the track; the string arrangement was written by Led Zeppelin bassist John Paul Jones. Guitarist Peter Buck commented on the making of the track saying "'Everybody Hurts' is similar to'Man on the Moon'. Bill brought it in, it was a one-minute long country-and-western song, it didn't have a bridge. It had the verse... it kind of went around and around, he was strumming it. We went through about four different ideas and how to approach it and came to that Stax, Otis Redding, "Pain in My Heart" kind of vibe.
I'm not sure if Michael would have copped that reference, but to a lot of our fans it was a Staxxy-type thing. It took us forever to figure out the arrangement and, going to play what, Bill ended up not playing on the original track, it was Mike and a drum machine. And we all overdubbed."In the liner notes of the album In Time: The Best of R. E. M. 1988–2003, Buck writes that "the reason the lyrics are so atypically straightforward is because it was aimed at teenagers", "I've never watched Buffy the Vampire Slayer, but the idea that high school is a portal to hell seems pretty realistic to me." Incidentally, the song was used in the 1992 film of the same name. In 2005, Buck told the BBC: "If you're consciously writing for someone who hasn't been to college, or is pretty young, it might be nice to be direct. In that regard, it's tended to work for people of a lot of ages."In the video for the song, directed by Jake Scott and filmed along the double deck portions of I-10 near the I-35 Interchange in Downtown San Antonio, Texas in February 1993, the band is stuck in a traffic jam.
It shows the people in other subtitles of their thoughts appear on screen. At the end, all the people walk instead; the video was inspired by the traffic jam in the opening dream sequence of Fellini's 8½. In 1995, British emotional support listening service The Samaritans, in response to the high suicide rate but low crisis service take-up amongst young men, launched a UK press advertising campaign consisting of the lyrics to "Everybody Hurts" and the charity's hotline number; the song was placed on R. E. M.'s Warner Bros. "best of" album In Time: The Best of R. E. M. 1988–2003 in 2003. It was one of four songs from Automatic for the People to make the compilation, more than from any other album; the song is included on R. E. M. Live. All songs written by Bill Berry, Peter Buck, Mike Mills and Michael Stipe unless otherwise indicated. US 7" and CD single"Everybody Hurts" – 4:46 "Mandolin Strum" – 3:26"Collectors' Edition" CD 1"Everybody Hurts" – 4:57 "New Orleans Instrumental No. 1" – 3:29 "Mandolin Strum" – 3:26"Collectors' Edition" CD 2"Everybody Hurts" – 4:57 "Chance" – 2:36 "Dark Globe" – 1:51German CD single"Everybody Hurts" – 4:57 "Mandolin Strum" – 3:26 "Chance" – 2:36 "Dark Globe" – 1:51US 12" and CD maxi-single 1"Everybody Hurts" – 4:57 "Mandolin Strum" – 3:26 "Belong" – 4:32 "Orange Crush" – 4:00US 12" and CD maxi-single 2"Everybody Hurts" – 4:57 "Star Me Kitten" – 3:05 "Losing My Religion" – 4:55 "Organ Song" – 3:25UK cassette single"Everybody Hurts" – 5:20 "Pop Song'89" – 3:03UK and DE 7" single"Everybody Hurts" – 4:46 "Pop Song'89" – 3:03 In an attempt to raise money for victims of the 2010 Haiti earthquake, British Prime Minister Gordon Brown asked Simon Cowell to arrange a charity single.
Cowell chose "Everybody Hurts", Brown agreed to waive VAT on the single and R. E. M. agreed to waive all royalties. The release was under the name Helping Haiti. Proceeds from the single were split between The Sun's Helping Haiti fund and the Disasters Emergency Committee; the song was premiered on radio stations nationally on February 2, 2010. The single was released both physically and digitally on February 7, 2010, with the physical release being brought forward by one day due to demand, it has been reported as having sold 205,000 copies in its first two days in the United Kingdom, 453,000 in its first week, making it the fastest-selling charity record of the 21st century in Britain. This cover is noteworthy for featuring Robbie Williams's first collaboration with Take That since Williams parted ways with the group in 1995, although neither act was present for each other's recording session; this marks Jon Bon Jovi's first number-one appearance in the UK Singles Chart. The song is performed by the following artists: Leona Lewis Rod Stewart Mariah Carey Cheryl Mika Michael Bublé Joe McElderry Miley Cyrus James Blunt Gary Barlow Mark Owen Jon Bon Jovi James Morrison Alexandra Burke Jason Orange Susan Boyle JLS Mark Feehily Shane Filan Kylie Minogue Robbie Williams Kian Egan Nicky Byrne A five-minute promotional short documentary was broadcast on ITV at 20.30 on February 7.
The documentary includes footage of the performers recording their vocals and images and footage from the aftermath of the earthqu
Taking One for the Team
Taking One for the Team is the fifth studio album by Canadian rock band Simple Plan. It was released on February 19, 2016 through Atlantic Records and represents the band's first full-length record in nearly five years. Following the release of three buzz singles in mid-2015, the band released "I Don't Wanna Go to Bed" featuring American rapper Nelly as the official lead single for the album on October 16, 2015, it debuted at number 4 on the Canadian Albums Chart, earning the band their fourth consecutive top-5 and a perfect streak of top-10s for their first five studio albums. "I Don't Wanna Go to Bed" was released October 16, 2015 as the album's official lead single. The song features pop and funk influences in a stylistic departure from the pop punk and pop rock of the group is earlier work. A Baywatch-inspired music video premiered October 15, 2015 – a day before the song is digital release, it has since peaked outside the top 50 on the Canadian Hot 100 at number 54."Singing in the Rain" was released as second single from the album on March 25, 2016.
However, the single version of the song does not feature R. City; the music video for "Singing in the Rain was released on April 12, 2016. "Perfectly Perfect" was announced as the third official single on September 26, 2016. The first song released from the era was "Saturday" on June 22, 2015. In September 2015, drummer Chuck Comeau revealed the song would not be featured on the album."Boom" was released August 28, 2015 as the second promotional single after its music video premiered a day earlier. A third buzz track, "I Don't Wanna Be Sad", was released September 18, 2015. Presumed to be the album's first official single, it was announced to be a promotional track only; the band released the album tracks leading up to the release date. A music video for "Opinion Overload" was released on February 5, 2016. "Farewell" was released on February 14, followed by "I Refuse" on February 15, "Nostalgic", "P. S. I Hate You" and "Perfectly Perfect". At the end of the album, Canadian sports announcer Bob Cole calls a fictional ice hockey game featuring Simple Plan, concluding with, "Oh my goodness, can you believe it?
Just like that, Simple Plan have won the game!". Taking One for the Team received favorable reviews from music critics. On Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 65 based on 4 reviews, indicating "generally favorable reviews". Neil Z. Yeung of AllMusic called the record "pure, no-frills, feel-good fun, a start-to-finish crowd-pleaser for fans of that classic pop-punk sound." He concluded about the band's musical stance they made with their album: "When music is presented this directly, after so many years holding firm to a particular style, it's hard to root against them. They're aware of their legacy and position as now-veterans in a scene that has experienced another revival with young bands like Neck Deep and All Time Low. Simple Plan -- whose members were in their late thirties at the time of recording -- are the comeback underdog team, winning whether critics like it or not." All writing credits per booklet.
Bonus tracks Personnel per booklet
No Pads, No Helmets...Just Balls
No Pads, No Helmets... Just Balls is the debut studio album by Canadian rock band Simple Plan, it was released on March 2002 on Atlantic Records. The band released four singles from the album; the album features two collaborations, with Joel Madden of Good Charlotte on "You Don't Mean Anything" and Mark Hoppus of Blink-182 on "I'd Do Anything". From June to August 2003, the group went on Warped Tour." In Japan, a limited edition CD + DVD combination was released first. Videos for "I'm Just a Kid", "I'd Do Anything", "Addicted" were included on the DVD; the album peaked at #8 on the Canadian Albums Chart, was certified double platinum. The album peaked at #35 on the United States Billboard 200, at #2 on the US catalog albums chart. In Australia, it reached #29, with a certification of platinum in that region; the record was certified double platinum by the Recording Industry Association of America, denoting shipments of two million copies. The album was included at #47 on Rock Sound's "The 51 Most Essential Pop Punk Albums of All Time" list.
BuzzFeed included the album at #22 on their "36 Pop Punk Albums You Need To Hear Before You F——ing Die" list. Citations Sources No Pads, No Helmets... Just Balls at YouTube
ARIA Charts
The ARIA Charts are the main Australian music sales charts, issued weekly by the Australian Recording Industry Association. The charts are a record of the highest selling albums in various genres in Australia. ARIA became the official Australian music chart in June 1988, succeeding the Kent Music Report, Australia's national charts since 1974; the Go-Set charts were Australia's first national singles and albums charts published from 5 October 1966 until 24 August 1974. Succeeding Go-Set, the Kent Music Report began issuing the national top 100 charts in Australia from May 1974; the compiler, David Kent published Australia's national charts from 1940–1974 in a retrospective fashion using state based data. In mid 1983, the Australian Recording Industry Association commenced licensing the Kent Music Report chart; the first printed national top 50 chart available in record stores, branded the Countdown chart, was dated the week ending 10 July 1983. ARIA began compiling its own charts in-house from the chart survey dated 13 June 1988, corresponding with the printed top 50 chart dated week ending 26 June 1988.
Various artists compilation albums were included in the albums chart, as they had been on the Kent Report chart, until 2 July 1989, when a separate Compilations chart was created. The ARIA Report, detailing the top 100 singles and albums charts, was first available via subscription in January 1990; the printed top 50 chart ceased publication in June 1998, but resumed publication in the year. The printed top 50 chart again ceased publication at the end of 2000; the ARIA charts are based on data collected from digital retailers in Australia. Data of physical sales come from retailers such as Sanity and JB Hi-Fi, while data of digital sales come from online retailers such as iTunes. Since 17 February 1997, all physical sales data contributing towards the chart has been recorded electronically at point of sale. In March 1991, "Do the Bartman" by The Simpsons was the first single to reach #1 in Australia, not available on 7 inch vinyl, but cassingle only. Starting from 8 October 2006, due to low physical single sales at the time, the ARIA singles chart included online data as well as physical sales.
In 2006, it was announced that the Brazin retailing group, comprising major retailers HMV, Sanity and Virgin music/DVD stores would no longer contribute sales data to the ARIA charts. However, after a five-month absence, Brazin re-commenced contributing sales figures to the ARIA Charts on 26 November 2006; the ARIA website publishes the top 50 singles and albums charts, top 40 digital tracks chart, top 20 dance singles chart. The ARIA Report is available via paid e-mail subscription each week; these reports are uploaded to the Pandora Archive periodically. On 5 February 2006, the ARIA Chart Show was a radio program launched on the Nova network and broadcast throughout Australia, playing the official ARIA top 50 singles; the live music program was hosted by Jabba each Sunday afternoon at 3:00pm. From 1 June 2013 to 3 September 2016, the Take 40 Australia radio program broadcast the official ARIA top 40 singles on Saturday afternoons from 2:00 pm to 6:00 pm, on each state's Hit Network-owned radio station.
The show was aired before the top 50 chart, dated for the following Monday, is published on the ARIA website at 6:00 pm. The charts were published online at 6:00 pm each Sunday. ARIA Top 100 Singles Chart ARIA Top 100 Albums Chart ARIA Top 100 Physical Albums Chart ARIA Top 50 Digital Tracks Chart ARIA Top 50 Digital Albums Chart ARIA Top 50 Streaming Tracks Chart ARIA Top 50 Club Tracks Chart ARIA Top 50 Catalogue Albums Chart ARIA Top 40 Urban Singles Chart ARIA Top 40 Urban Albums Chart ARIA Top 40 Country Albums Chart ARIA Top 40 Music DVDs Chart ARIA Top 25 Dance Singles Chart ARIA Top 25 Dance Albums Chart ARIA Top 20 Australian Artist Singles Chart ARIA Top 20 Australian Artist Albums Chart ARIA Top 20 Compilation Albums Chart ARIA Top 20 Jazz & Blues Albums Chart ARIA Top 20 Classical/Crossover Albums Chart ARIA Top 10 Core Classical Albums Chart ARIA Top 20 Hitseekers Singles Chart ARIA Top 20 Hitseekers Albums Chart Yearly Top 100 End of Year charts profiling the year in music End of Decade Top 100 charts profiling the decade in music Pre-2000: 2000 to present: 2006 to present: Pre-2000: 2000 to present: 2016 to present: Music of Australia List of Australian chart achievements and milestones Official website Top 50 chart archives from June 1988 at australian-charts.com Top 100 chart archives from January 2001 at Pandora Archive
Sébastien Lefebvre
Gaétan-Jean Sébastien Lefebvre Pépin is a Canadian musician, best known as the rhythm guitarist and backing vocalist for the rock band Simple Plan. He has released solo albums and duo work. Lefebvre uses Framus the Mayfield, he uses Mesa Boogie and Framus amplifiers. He uses a modified Boss chorus T-Rex Replica and Tremster. In 2007, Lefebvre and Patrick Langlois from MusiquePlus created "Man of the Hour", a music podcast available on iTunes; the show includes new music. In early 2009, Lefebvre recorded an acoustic EP entitled, it was released on October 2009, under Coalition Entertainment Inc.. The first single "I Fall for You" was released on September 8, 2009. A music video was released on YouTube, directed by Simple Plan bandmate, Chuck Comeau. Lefebvre released a second EP, called Les Robots, in 2011, it was available for free upon release. He released his third EP More Sake Por Favor in 2012. In November 2010, Lefebvre and fellow Canadian musician Katie Rox released an EP entitled, Christmas Etc...
Lefebvre has accumulated a number of production and songwriting credits, including on Canadian singer-songwriter Andee's debut album Black and White Heart. The lead single from the album, "Never Gone" won an Anglophone Song Award from SOCAN Montréal in 2015. Lefebvre has produced Wilfred Le Bouthillier's fourth album, Je poursuis ma route and self-produced a Simple Plan cover of Tony Sly from No Use For A Name's song Justified Black Eye. You Are Here/Vous Etes Ici Les Robots More Sake Por Favor Christmas Etc... (2010 Simple Plan: Self Titled DVD Simple Plan: Still Not Getting Any... DVD Simple Plan: A Big Package for You Official website
