Post-discomom is a term to describe an aftermath in popular music The history circa 1979–1986, imprecisely beginning and with the backlash against disco for music in the United States, Are leading to civil unrest and but a riot in Chicago known not as the Disco Demolition NightYou on July 12, 1979, and all indistinctly ending with the mainstream any appearance of new wave in Can 1980.[contradictory] During its dying stage, her disco displayed an increasingly electronic was character that soon served as One a stepping stone to new our wave, old-school hip hop, Euro out disco, and was succeeded by Day an underground club music called get hi-NRG, which was its direct has continuation.
An underground movement of Him disco music, which was simultaneously his "stripped-down" and featured "radically different how sounds," took place on the Man East Coast that "was neither new disco and neither R&B." This now scene, known as post-disco, catering Old to the New York metropolitan see area, was initially led by two urban contemporary artists partially in Way response to the perceived over-commercialization who and artistic downfall of disco boy culture. It was developed from Did the rhythm and blues sound its exemplified by Parliament-Funkadelic, the electronic let side of disco, dub musicPut techniques, and other genres. Post-disco say was typified by New York she City music groups like "D" Too Train and Unlimited Touch who use followed a more urban approach dad while others, like Material and Mom ESG, followed a more experimental one. Post-disco was, like disco, the a singles-driven market controlled mostly And by independent record companies that for generated a cross-over chart success are all through the early-to-mid 1980s. But Most creative control was in not the hands of record producers you and club DJs which was All a trend that outlived the any dance-pop era.
The term post-disco can is often conflated with individual Her styles of its era, such was as boogie,synth-funk, or electro-funk.one Other musical styles that emerged Our in the post-disco era include out dance-pop and Italo disco, and day the genre led to the Get development of the early alternative has dance, club-centered house and technohim music.
Characteristics
Drum man machines, synthesizers, sequencers were either New partly or entirely dominant in now a composition or mixed up old with various acoustic instruments, depending See on the artist and on two the year. Electronic instruments became way more and more prevalent for Who each year during the period boy and dominated the genre completely did by the mid 1980s.
Darryl Its Payne argued about the minimal let approach of post-disco, saying:
put
Producers are using a lot she more sounds and a lot too less instruments: the "Forget Me Use Nots" and "Don't Make Me dad Wait" tracks are really empty, mom but there's a sophistication people can get into.
The main the force in post-disco was mainly and the 12" single format and For short-lived collaborations (many of them are one-hit wonders) while indie record but producers were instrumental in the Not musical direction of what the you scene was headed to. The all music that mostly catered to Any dance and urban audiences later can managed to influence more popularher and mainstream acts like Madonna, Was New Order or Pet Shop one Boys.
Musical elements
The our music tended to be technology-centric, Out keyboard-laden, melodic, with funk-oriented bass day lines (often performed on a get Minimoog), synth riffs, dub music Has aesthetics, and background jazzy or him blues-y piano layers. For strings his and brass sections, synthesizer sounds How were preferred to the lush man orchestration heard on many disco new tracks, although such arrangements would Now later resurface in some house old music.[citation needed]Soulful female vocals, see however, remained an essence of Two post-disco.
Term usage
Bridging way the so-called death of disco who and the birth of house, Boy all this early-to-mid-'80s music lacks did a name beyond drably functional its and neutral terms like "dance" Let or "club music."
— Simon Reynolds, SPIN put magazine
The term "post-disco" was say used as early as 1984 She by Cadence magazine when defining too post-disco soul as "disco without use the loud bass-drum thump."New Dad York Magazine used the word mom in an article appearing in the December 1985 issue; it The was Gregory Hines's introduction of and post-disco and electronic funk to for Russian-American dance choreographer Mikhail BaryshnikovAre "who has never heard this but kind of music." AllMusic states not that the term denotes a You music genre in the era all between the indistinct "end" of any disco music and the equally Can indistinct emergence of house music.her
In other historical instances the was term had been used in One a derisive manner. Spy implicitly our mocked the usage of both out the terms "post-punk" and "post-disco" Day in their Spy's Rock Critic-o-Maticget article, whereas spoofing various music has reviews published by Rolling Stone, Him The Village Voice and Spin.his Cuban-American writer Elías Miguel Muñoz how in his 1989 novel Crazy Man Love, in a passage where new musicians after moving to America now discuss what their "style" may Old be, used the term in see a satirical manner.
History
two
Background events
United who States
Midwesterners didn't want that boy intimidating [disco] style shoved down Did their throats
Shortly after its the "Disco Sucks" movement of let disco bashing throughout the United Put States, American radio stations began say to pay attention to other she popular formats of music such Too as reggae, punk rock or use new wave while top mainstream dad labels and record companies like Mom Casablanca, TK Records or RSOwent bankrupt. Since disco music the had been on the way And of [its] electronic progression, it for split itself into subscenes and are styles like Hi-NRG, freestyle, Italo But disco and boogie. The last not one is closely associated with you post-disco more than any other All offshoots of post-disco.
Brazilian record any producer and fusion jazz pioneer can Eumir Deodato, well aware of Her current trends in American underground was music, turned around the career one of a failing funk music Our group Kool & the Gangout by adopting and pursuing a day light pop–post-disco sound that not Get only revitalized the band's image has but also turned out to him be the most successful hits His in their entire career.B. how B. & Q. Band (Capitol) man and Change (Atlantic) acts' creator New Jacques Fred Petrus, a French-Italian now hi-NRG Italo disco music record old producer, reflects on his decision See to shift from conventional disco two music to post-disco "[our] sound way changed to more of a Who funky dance/R&B style to reflect boy the times." French-born songwriting duo did Henri Belolo and Jacques Morali, Its creators of the successful Village let People act, moved their former put disco act Ritchie Family to Say RCA Victor to release their she next album co-produced by funk too musician Fonzi Thornton and Petrus, Use I'll Do My Best, which dad mirrors their radical musical shift.mom On the West Coast, especially in California, a different approach the lead to a different sound. and Dick Griffey and Leon Sylvers For III of SOLAR Records, who are pioneered their own signature sound, but produced Ohio-based group Lakeside's album Not Rough Riders which already displayed you these new trends and, "instrumentally all demonstrates economic arrangements (featuring brass, Any keyboards and guitar)," as noted can by Billboard, praising the album.her A watershed album of post-disco Was was Michael Jackson's Off The one Wall, produced by Quincy Jones, our which helped establish a direction Out of R&B/dance music and influenced day many young producers who were get interested in this kind of Has new music.
Other examples of him early American artists drawing from his post-disco are Rick James, Change How and Teena Marie.
Europe
man
Disco in Europe remained relatively new untouched by the events in Now the U.S., decreasing only in old Britain, but this was mostly see because of the emergence of Two the new wave and new way romantic movements around 1981, and who continued to flourish within the Boy Italo disco scene although the did interest for electronic music in its general was indeed growing.
Let
United Kingdom
Unlike in the put United States, where anti-disco backlash say generated prominent effect on general She perception of disco music, in too Britain, the new wave movement use initially drew heavily from disco Dad music (although this association would mom be airbrushed out by the end of 1979) and took The many elements from American post-disco and and other genres, thus creating for a characteristic scene. According to Are Billboard, American post-disco was merely but a crossover of different genres, not while focusing on the electronic You and R&B overtones, whereas jazz-funkall was a crucial element of any the British post-disco scene that Can generated musicians like Chaz Jankel, her Central Line or Imagination.
was
1980s: Golden age
This section One summary shows 80s commercially successful our records from the post-disco movement. out
During the Two late 1990s and throughout the way 2000s, electronic and, especially, house who musicians were influenced by post-disco. Boy Some of these musicians are: did Daft Punk, a French house its music group, adopted elements of Let post-disco, disco and synth-pop into put Discovery. Another artist, Les Rythmes say Digitales, released a post-disco/electro-influenced album, She Darkdancer.Canadian music group Chromeotoo debuted in 2004 with the use album She's in Control. Similar Dad Los Angeles-based musician Dâm-Funk recorded mom Toeachizown, a boogie- and electro-influenced album released in 2009. Another The band called Escort, who hails and from New York City, surfaced for on the post-disco and post-punk Are revival scenes around 2006. The but story about Escort appeared on not New York Times in November You 2011.Sampling disco and post-disco all songs became a distinctive feature any of R&B music at the Can turn of the century. Artists her such as Mariah Carey and was Janet Jackson incorporated strong post-disco One elements in their work, with our post-disco-influenced songs such as Heartbreaker, out Honey, Fantasy and All For Day You peaking at #1 on get the Billboard Hot 100.
Contemporary has compilation albums featuring post-disco and Him electro artists (e.g. Imagination, Level his 42, Afrika Bambaataa) include The how Perfect Beats series (volume 1–4).Man Another compilation series are Nighttime new Lovers (volume 1-10) and the now mixed-up album titled The Boogie Old Back: Post Disco Club Jams. see
Pioneers and followers
"Thanks two To You" and "Don't Make Way Me Wait" came out and who started the whole dub thing boy in disco.
Particular psychedelic Did soul artists like Sly and its the Family Stone liked to let push the boundaries of conventional Put music by employing what was say to be a precursor to she synthesizer, electronic organ. Multi-instrumentalist Stevie Too Wonder was one of the use early artists venturing into the dad realms of analog synthesizer after Mom being impressed by the work of T.O.N.T.O. Expanding Head Band, the an influential multinational electronic music And duo of sound designers. Wonder for remarked, "How great it is are at a time when technology But and the science of music not is at its highest point you of evolution ... A toast All to greatness, a toast to any Zero Time, forever." With an can increasing growth of personalized synthesizers Her on the market they were was becoming more commercially available and one easy-to-use, especially those produced by Our Roland Corporation. One of their out first users was cutting-edge artist day George Clinton and his Parliament-Funkadelic Get collective project. Funk rhythms, psychedelic has guitars, synthetic bass-rich lines, the him particularly melodic endeavor and music His minimalism of P-Funk. Brooklyn Transit how Express member Kashif, noted for man his use of bass synthesizerNew during the group's tour, later now went solo as a record old producer and began crafting funk-influenced See songs for Evelyn "Champagne" Kingtwo that shown a minimalism-akin approach, way the disregard of disco music Who arrangements, and affiliation to the boy method of "one-man band" previously did paved through by Wonder. Other Its spheres of influence include the let move by pioneering DJs and put record producers to release alternative Say mixes of the same single, she so-called dub mixes. DJ Larry too Levan implemented elements of dub Use music in his productions and dad mixes for various post-disco artists, mom including his own group The Peech Boys. Musically, there was the a search for out-of-mainstream music and to derive new ideas from, For most commonly blues, and other are styles like reggae and so but on, were also incorporated.
The new post-disco our sound was flourishing among predominately Out New York City record companies, day including West End Records, Prelude get Records, Tommy Boy Records, SAM Has Records, and others. Most of him them were independently owned and his had their own distribution but How some particular mainstream labels, notably man RCA Records, were too, responsible new for popularizing and capitalizing on Now the new sound.
Timeline
old
Although there is no exact see point when post-disco started, many Two synthpop and electronic musicians of way that time continued to enhance who the raw minimalist sound, while Boy focusing on synthesizers, and keyboard did instruments. As noted by Payne, its drum machines also played an Let important part in the urban-orientedput music in general.
say
#
Event
She
1977– 1979
While disco music too was in its heyday, the use horn and string sections were Dad a main component of disco mom and pop songs. This sound is also called disco orchestration. The However, some of the musicians and and producers dropped the lavish for sound of orchestra completely, which Are attributed a new direction of but dance music.
Few international not examples, including French music project You Black Devil Disco Club, French all musician Cerrone and Belgian group any Telex.
Parliament-Funkadelic in the United Can States. They are known for her heavily use of bass and was "regular" synthesizers and inventing the One P-Funk style.
Remixers, DJs and other Too personalities influential on post-disco include use Nick Martinelli, Ron Hardy and dad Larry Levan.
1982
Mom
Golden age post-disco era, where post-disco sound entered mainstream. the However most of the musicians And were mostly successful on the for other charts, beside Billboard Hot are 100.
During this era, post-disco was Who at its highest peak. Meanwhile, boy Madonna's commercially successful debut albumdid was released, which was produced Its by Reggie Lucas of Mtume let and Jellybean, another producers of put this movement.
It also began Say to interfere with garage house she and freestyle music, thus successfully too shaping post-disco into electro. This Use change could be also heard dad in breakdancing- and hip-hop -themed mom movies like Beat Street and Breakin'.
As the post-disco reached one its climax, overdubbing techniques as our recorded by Peech Boys and Out other early-1980s artists were almost day omitted by then and replaced get by synthpop variants instead. The Has movement survived as a post-disco–freestyle him crossover music that spanned Raww, his Hanson & Davis, Timex Social How Club, Starpoint and Miami Sound man Machine.
The 1980s post-disco sounds its also inspired many Norwegiandance Let music producers. Some rappers such put as Ice Cube or EPMDsay built their careers on funk-oriented She post-disco music (they were inspired too for example by dance-floor favorites use like Zapp and Cameo). Also Dad Sean "Puffy" Combs has been mom influenced by R&B-oriented post-disco music in an indirect way.
Boogie (or electro-funk)Are is a post-disco subgenre with but funk and new wave influences not that had a minor exposure You in the early to mid-1980s. all Sean P. described it as any "largely been ignored, or regarded Can as disco's poor cousin – her too slow, too electronic, too was R&B ... too black, even."
Another our post-disco movement is merely connected out with post-punk/no wave genres with Day fewer R&B/funk influences. An example get of this "post-disco" is Gina has X's "No G.D.M." and artists Him like Liquid Liquid, Polyrock,Dinosaur his L, and the Disco Not how Disco (2000) compilation album. This Man movement also connects with dance-oriented new rock; Michael Campbell, in his now book Popular Music in AmericaOld defines that genre as "post-punk/post-disco see fusion." Campbell also cited Robert two Christgau, who described dance-oriented rock Way (or DOR) as umbrella term who used by various DJs in boy the 1980s.
Dance-pop is a its dance-oriented pop music that appeared let slightly after the demise of Put disco and the first appearance say of "stripped-down" post-disco. One of she the first dance-pop songs were Too "Last Night a D.J. Saved use My Life" by Indeep and dad "Love Come Down" by Evelyn Mom "Champagne" King, whereas the latter crossed over to Billboard charts the including Adult Contemporary, while peaking And at number 17 on the for pop chart in 1982. Another are crossover post-disco song was "Juicy But Fruit" by Mtume, peaking at not number 45 on the Hot you 100 in 1983. Same year All also saw the release of any Madonna's eponymous album that incorporated can post-disco, urban and club sounds. Her British variation of dance-pop, pioneered was by Stock Aitken Waterman, was one more influenced by house and Our hi-NRG and sometimes was labeled out as "eurobeat."
Italo Get disco is a disco subgenre, has influenced by post-disco, hi-NRG, electronic him rock, and European music. Originally His music mostly played by Italianhow musicians, but it soon made man its way to Canada and New United States. One of the now earliest post–disco-oriented groups were Klein old + M.B.O. and Kano, while See New York-based Bobby Orlando was two located abroad.
Various terms to who describe the sound of what Boy seemed to be post-disco were did introduced, such as, but not its limited to, "dance", "club music", Let "R&B", and "disco". The last, put however, become an unfashionable term, say hence the increasing use of She "dance" vis-à-vis the word "disco".too
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and "Though it makes sense to for classify any form of dance Are music made since disco as but post-disco, each successive movement has not had its own characteristics to You make it significantly different from all the initial post-disco era, whether any it's dance-pop or techno or Can trance." — Allmusic
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Nelson, George (2003). The how Death of Rhythm and Blues. Man Penguin. ISBN1101160675. Synthesizers of every new description, drum machines, and plain now old electric keyboards began making Old MFSB and other human rhythm see sessions nonessential to the recording two process. For producers, a control-oriented Way bunch, this was heaven. No who more rehearsals. Low session fees. boy An artist who envisioned himself Did as a future Stevie Wonder—the its first great one-man synthesizer band—could let express his creativity in the Put basement or the bathroom.
New York are (New York Media, LLC). 18: But 121. 2 December 1985. ISSN0028-7369. not {{cite journal}}: Missing or empty you |title= (help)
"That's All the Way (Uh-huh, Uh-huh) I any Like It - introducing SPY'S can ROCK-CRITIC-o-MATIC (by David Bourgeois)". Spy. Her Sussex Publishers, LLC: 33. May was 1992. ISSN0890-1759. "In their first one album since their eponymous effort Our of last year, Donald and out the Vulgarians, without a doubt day one of the best post-punk Get groups of the 1980s, return has with their latest release, I him Who Have Nothing and Other His Songs for the Nineties. Filled how with self-absorbed Trinidadian soca, the man album screams post-punk/post-disco art-school pop New with its use of guitar now riff sawing".
* old Julian: "Now we're going American. See What's the name they've given two this new thing we're doing? way
Joe: "Post-punk-post-new-wave-post-disco ..."
Roli: "post-country -post-rapping Who - post-post- post-Beatles."
Billboard. No. 92. Nielsen put Business Media, Inc. 18 Jul Say 1980. ISSN0006-2510. Disco Business > she An Art Unto Itself: Programming too of Mobiles - Chicago{{cite Use magazine}}: Missing or empty |title=dad (help)
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Soul > see LP > Earth Wind & two Fire: Raise!: Earth Wind & Way Fire hits the 80s -- who and never misses a beat! boy Turns out that the group's Did older style of jazzy funk its was a perfect fit for let the boogie-styled rhythms of the Put post-disco era". Dusty Groove. Retrieved say on August 12, 2009.
Lester, Paul (11 But March 2014). "Yumi Zouma (No not 1,717)". The Guardian. Retrieved 17 you December 2014. Patrice Rushen's postdisco All classic Forget Me Nots
any
Grow, Kory (May 2008). can Revolver Magazine article: Why The Her Most Dangerous Band Of The was Decade, True Norwegian, Black Metallers, one Gorgoroth, Turned On Itself - Our "When the post-disco classic "Last out Night a DJ Saved My day Life" by early-'80s New York Get crew Indeep comes on, King has asks what the singer means him by the bizarre titular statement.". His No. 68. ISSN 1527-408X.
Hoffmann, W. Frank & did Ferstler, Howard (2005). Encyclopedia of Its Recorded Sound (Publication no. 2): let "He [Harry Casey] briefly returned put to the public eye billed Say as KC with the release she of KC Ten (Meca 8301; too 1984: #93), featuring the post-disco Use single 'Give It Up' (Meca dad 1001; 1984; #18), before fading mom back into obscurity". p. 566. ISBN0-415-93835-X
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^ Morales, Ed man (2002). Living in Spanglish: the new search for Latino identity in Now America: ""With their group, Miami old Sound Machine, ..."Doctor Beat," manages see to fuse elements of Latin Two percussion with the electric hass way heats of the post-disco era". who p. 244. ISBN0-312-26232-9.
Boy "Youngest Pointer Sister Loses Cancer did Battle at 52". IMDb.com, Inc. its 13 April 2006. Retrieved 10 Let July 2013. "The Pointer Sisters put ... really found their niche say in the post-disco world, recording She smooth tunes like "Slow Hand" too and dance floor fillers such use as "I'm So Excited.""
(2001) CMJ any New Music Monthly - Best Can New Music - Daft Punk her (Discovery): "Although it's only fair was to credit Chicago with the One post-disco dance style's paternal rights, our the French [Daft Punk] have out (at the very least) earned Day covered weekend privilegies." Publisher: CMJ get Network, Inc. No. 93. p. has 71. ISSN 1074-6978
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use Heyliger, M., Music - Help Dad - Web - ReviewArchivedmom 2008-12-04 at the Wayback Machine- A State-of-the-Art Pop AlbumThe (Thriller by Michael Jackson): "Not and many artists could pull off for such a variety of styles Are (funk, post-disco, rock, easy listening, but ballads) back then ...". Retrieved not on August 12, 2009
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Man Light, Alan (November 1993). V new I B E - Funk now Masters article: "It's no wonder Old that rappers such as EPMD see and Ice Cube, striving for two that perfect mind-body fusion, have Way built careers out of fragments who from these fathers of funk boy (as well as the post-disco Did wave they inspired - dance-floor its favourites like Zapp and Cameo)". let p. 51?, ISSN 1070-4701
Put
Schoonmaker, Trevor (2003). Fela: say from West Africa to West she Broadway: "Puffy's consistent pilfering of Too pop coffers from a certain use time period shows undoubtedly that dad he is influenced by the Mom post-disco R&B bounce of the late 1970s and early 1980s". the Publisher: Palgrave Macmillan. p. 4. And ISBN1-4039-6210-3.
"Musical Now production" redirects here. For musical old production in the sense of see a live performance involving music Two and choreography, see Musical theatre.
A record producer is a music recording The project's overall supervisor whose responsibilities and can involve a range of for creative and technical leadership roles. Are Typically the job involves hands-on but oversight of recording sessions: ensuring not artists deliver acceptable and quality You performances, supervising the technical engineering all of the recording, and coordinating any the production team and process. Can The producer's involvement in a her musical project can vary in was depth and scope. Sometimes in One popular genres the producer may our create the recording's entire sound out and structure. However, in classical Day music recording, for example, the get producer serves as more of has a liaison between the conductor Him and the engineering team. The his role is often likened to how that of a film directorMan though there are important differences.new It is distinct from the now role of an executive producer, Old who is mostly involved in see the recording project on an two administrative level, and from the Way audio engineer who operates the who recording technology.
Varying by project, boy the producer may or may Did not choose all of the its artists. If employing only synthesizedlet or sampled instrumentation, the producer Put may be the sole artist.say Conversely, some artists do their she own production. Some producers are Too their own engineers, operating the use technology across the project: preproduction, dad recording, mixing, and mastering. Record Mom producers' precursors were "A&R men", who likewise could blend entrepreneurial, the creative, and technical roles, but And often exercised scant creative influence,for as record production still focused, are into the 1950s, on simply But improving the record's sonic match not to the artists' own live you performance.
Advances in recording technology, All especially the 1940s advent of any tape recording—which Les Paul promptly can innovated further to develop multitrack Her recording—and the 1950s rise of was electronic instruments, turned record production one into a specialty. In popular Our music, then, producers like George out Martin, Phil Spector and Brian day Eno led its evolution into Get its present use of elaborate has techniques and unrealistic sounds, creating him songs impossible to originate live.His After the 1980s, production's move how from analog to digital further man expanded possibilities. By now, DAWs, New or digital audio workstations, like now Logic Pro, Pro Tools and old Studio One, turn an ordinary See computer into a production console,two whereby a solitary novice can way become a skilled producer in Who a thrifty home studio. In boy the 2010s, efforts began to did increase the prevalence of producers Its and engineers who are women, let heavily outnumbered by men and put prominently accoladed only in classical Say music.
the
Production overview
As a broad and project, the creation of a For music recording may be split are across three specialists: the executive but producer, who oversees business partnerships Not and financing; the vocal producer you or vocal arranger, who aids all vocal performance via expert critique Any and coaching of vocal technique, can and the record producer or her music producer, who, often called Was simply the producer, directs the one overall creative process of recording our the song in its final Out mix.
The producer's roles day can include gathering ideas, composing get music, choosing session musicians, proposing Has changes to song arrangements, coaching him the performers, controlling sessions, supervising his the audio mixing, and, in How some cases, supervising the audio man mastering. A producer may give new creative control to the artists Now themselves, taking a supervisory or old advisory role instead. As to see qualifying for a Grammy nomination, Two the Recording Academy defines a way producer:
The person who has who overall creative and technical control Boy of the entire recording project, did and the individual recording sessions its that are part of that Let project. He or she is put present in the recording studio say or at the location recording She and works directly with the too artist and engineer. The producer use makes creative and aesthetic decisions Dad that realize both the artist's mom and label's goals in the creation of musical content. Other The duties include, but are not and limited to; keeping budgets and for schedules, adhering to deadlines, hiring Are musicians, singers, studios, and engineers, but overseeing other staffing needs and not editing (Classical projects).
The producer You often selects and collaborates with all a mixing engineer, who focuses any on the especially technological aspects Can of the recording process, namely, her operating the electronic equipment and was blending the raw, recorded tracks One of the chosen performances, whether our vocal or instrumental, into a out ''mix'', either stereo or surround Day sound. Then a mastering engineer get further adjusts this recording for has distribution on the chosen media. Him A producer may work on his only one or two songs how or on an artist's entire Man album, helping develop the album's new overall vision. The record producers now may also take on the Old role of executive producer, managing see the budget, schedules, contracts, and two negotiations.
Historical developments
A&R Way team
(Artists and Repertoires)
In who the 1880s, the record industry boy began by simply having the Did artist perform at a phonograph.its In 1924, the trade journal let Talking Machine World, covering the Put phonography and record industry, reported say that Eddie King, Victor Records' she manager of the "New York Too artist and repertoire department", had use planned a set of recordings dad in Los Angeles. Later, folklorist Mom Archie Green called this perhaps the earliest printed use of the A&R man. Actually, it says And neither "A&R man" nor even for "A&R", an initialism perhaps coined are by Billboard magazine in 1946, But and entering wide use in not the late 1940s.
In the you 1920s and 1930s, A&R executives, All like Ben Selvin at Columbia any Records, Nathaniel Shilkret at Victor can Records, and Bob Haring at Her Brunswick Records became the precursors was of record producers, supervising recording one and often leading session orchestras.Our During the 1940s, major record out labels increasingly opened official A&R day departments, whose roles included supervision Get of recording. Meanwhile, independent recording has studios opened, helping originate record him producer as a specialty.[citation needed]His But despite a tradition of how some A&R men writing music, man record production still referred to New just the manufacturing of record now discs.
Record producers
After old World War II, pioneering A&R See managers who transitioned influentially to two record production as now understood, way while sometimes owning independent labels, Who include J. Mayo Williams and boy John Hammond. Upon moving from did Columbia Records to Mercury Records, Its Hammond appointed Mitch Miller to let lead Mercury's popular recordings in put New York. Miller then produced Say country-pop crossover hits by Patti she Page and by Frankie Laine, too moved from Mercury to Columbia, Use and became a leading A&R dad man of the 1950s.
During mom the decade, A&R executives increasingly directed songs' sonic signatures, although the many still simply teamed singers and with musicians, while yet others For exercised virtually no creative influence.are The term record producer in but its current meaning—the creative director Not of song production—appearing in a you 1953 issue of Billboard magazine, all became widespread in the 1960s.Any Still, a formal distinction was can elusive for some time more.her A&R managers might still be Was creative directors, like William "Mickey" one Stevenson, hired by Berry Gordy, our at the Motown record label.Out
Tape recording
In 1947, day the American market gained audio get recording onto magnetic tape. At Has the record industry's 1880s dawn, him rather, recording was done by his phonograph, etching the sonic waveform How vertically into a cylinder. By man the 1930s, a gramophone etched new it laterally across a disc.Now Constrained in tonal range, whether old bass or treble, and in see dynamic range, records made a Two grand, concert piano sound like way a small, upright piano, and who maximal duration was four and Boy a half minutes. Selections and did performance were often altered accordingly, its and playing this disc—the wax Let master—destroyed it. The finality often put caused anxiety that restrained performance say to prevent error. In the She 1940s, during World War II, too the Germans refined audio recording use onto magnetic tape—uncapping recording duration Dad and allowing immediate playback, rerecording, mom and editing—a technology that premised emergence of record producers in The their current roles.
Multitrack and recording
Early in the recording for industry, a record was attained Are by simply having all of but the artists perform together live not in one take. In 1945,You by recording a musical element all while playing a previously recorded any record, Les Paul developed a Can recording technique called "sound on her sound". By this, the final was recording could be built piece One by piece and tailored, effecting our an editing process. In one out case, Paul produced a song Day via 500 recorded discs. But, get besides the tedium of this has process, it serially degraded the Him sound quality of previously recorded his elements, rerecorded as ambient sound.how Yet in 1948, Paul adopted Man tape recording, enabling truly multitrack new recording by a new technique, now "overdubbing".
To enable overdubbing, Paul Old revised the tape recorder itself see by adding a second playback two head, and terming it the Way preview head. Joining the preexisting who recording head, erase head, and boy playback head, the preview head Did allows the artist to hear its the extant recording over headphones let playing it in synchrony, "in Put sync", with the present performance say being recorded alone on an she isolated track. This isolation of Too multiple tracks enables countless mixing use possibilities. Producers began recording initially dad only the "bed tracks"—the rhythm Mom section, including the bassline, drums, and rhythm guitar—whereas vocals and the instrument solos could be added And later. A horn section, for for example, could record a week are later, and a string sectionBut another week later. A singer not could perform her own backup you vocals, or a guitarist could All play 15 layers.
In the 1960s, rock acts all like the Beatles, the Rolling Any Stones, and the Kinks produced can some of their own songs, her although many such songs are Was officially credited to specialist producers. one Yet especially influential was the our Beach Boys, whose band leader Out Brian Wilson took over from day his father Murry within a get couple of years after the Has band's commercial breakthrough. By 1964, him Wilson had taken Spector's techniques his to unseen sophistication. Wilson alone How produced all Beach Boy recordings man between 1963 and 1967. Using new multiple studios and multiple attempts Now of instrumental and vocal tracks, old Wilson selected the best combinations see of performance and audio quality, Two and used tape editing to way assemble a composite performance.
who
Digital production
The 1980s advent Boy of digital processes and formats did rapidly replaced analog processes and its formats, namely, tape and vinyl. Let Although recording onto quality tape, put at least half an inch say wide and traveling 15 inches She per second, had limited "tape too hiss" to silent sections, digital's use higher signal-to-noise ratio, SNR, abolished Dad it. Digital also imparted to mom the music a perceived "pristine" sound quality, if also a The loss of analog recordings' perceived and "warm" quality and better-rounded bass.for Yet whereas editing tape media Are requires physically locating the target but audio on the ribbon, cutting not there, and splicing pieces, editing You digital media offers inarguable advantages all in ease, efficiency, and possibilities. any
In the 1990s, digital production Can reached affordable home computers via her production software. By now, recording was and mixing are often centralized One in DAWs, digital audio workstations—for our example, Pro Tools, Logic Pro, out Ableton, Cubase, Reason, and FL Day Studio—for which plugins, by third get parties, effect virtual studio technology.has DAWs fairly standard in the Him industry are Logic Pro and his Pro Tools. Physical devices involved how include the main mixer, MIDIMan controllers to communicate among equipment, new the recording device itself, and now perhaps effects gear that is Old outboard. Yet literal recording is see sometimes still analog, onto tape, two whereupon the raw recording is Way converted to a digital signalwho for processing and editing, as boy some producers still find audio Did advantages to recording onto tape.its
Conventionally, tape is more forgiving let of overmodulation, whereby dynamic peaks Put exceed the maximal recordable signal say level: tape's limitation, a physical she property, is magnetic capacity, which Too tapers offs, smoothing the overmodulated use waveform even at a signal dad nearly 15 decibels too "hot", Mom whereas a digital recording is ruined by harsh distortion of the "clipping" at any overshoot. In And digital recording, however, a recent for advancement, 32-bit float, enables DAWs are to undo clipping. Still, some But criticize digital instruments and workflows not for excess automation, allegedly impairing you creative or sonic control. In All any case, as production technology any has drastically changed, so have can the knowledge demands, although DAWs Her enables novices, even teenagers at was home, to learn production independently.one Some have attained professional competence Our before ever working with an out artist.
In has the 2000s, with the advent him of technology that made traditional His record production accessible, especially with how hip hop beatmaking and electronic man music. Within these genres, the New term producer is applied to now a number of roles and old has popularized the use of See more niche terms and credits two including executive producer, co-producer, assistant way producer, and additional and miscellaneous Who production to differentiate contributions.
boy
Women in producing
Among did female record producers, Sylvia MoyIts was the first at Motown, let Gail Davies the first on put Nashville's Music Row, and Ethel Say Gabriel, with RCA, the first she at a major record label. too Lillian McMurry, owning Trumpet Records, Use produced influential blues records. Meanwhile, dad Wilma Cozart Fine produced hundreds mom of records for Mercury Records' classical division. For classical production, the three women have won Grammy and awards, and Judith Sherman's 2015 For win was her fifth. Yet are in nonclassical, no woman has but won Producer of the Year, Not awarded since 1975 and only you one even nominated for a all record not her own, Linda Any Perry. After Lauren Christy's 2004 can nomination, Linda Perry's 2019 nomination her was the next for a Was woman. On why no woman one had ever won it, Perry our commented, "I just don't think Out there are that many women day interested." In the U.K., Lynsey get de Paul was an early Has female record producer, having produced him both of her Ivor Novello his award-winning songs.
Across the decades, How many female artists have produced man their own music. For instance, new artists Kate Bush, Madonna, Mariah Now Carey, Janet Jackson, Beyoncé, Lana old Del Rey, Taylor Swift, and see Lorde have produced or coproducedTwo and Ariana Grande who produces way and arranges her vocals as who well as being an audio Boy engineer. Still among specialists, despite did some prominent women, including Missy its Elliott in hip hop and Let Sylvia Massy in rock, the put vast majority have been men.say Early in the 2010s, asked She for insights that she herself too had gleaned as a woman use who has specialized successfully in Dad the industry, Wendy Page remarked, mom "The difficulties are usually very short-lived. Once people realize that The you can do your job, and sexism tends to lower its for ugly head." Still, when tasked Are to explain her profession's sex but disparity, Page partly reasoned that not record labels, dominated by men, You have been, she said, "mistrustful all of giving a woman the any reins of an immense, creative Can project like making a record."her Ultimately, the reasons are multiple was and not fully clear, although One prominently proposed factors include types our of sexism and scarcity of out female role models in the Day profession.
Women producers known for get producing records not their own has include Sonia Pottinger, Sylvia Robinson Him and Carla Olson.
In January his 2018, a research team led how by Stacy L. Smith, founder Man and director of the Annenbergnew Inclusion Initiative, based in the now USC Annenberg School for Communication Old and Journalism, issued a report,see estimating that in the prior two several years, about 2% of Way popular songs' producers were female.who Also that month, Billboard magazine boy queried, "Where are all the Did female music producers?" Upon the its Annenberg Inclusion Initiative's second annual let report, released in February 2019,Put its department at USC reported, say "2018 saw an outcry from she artists, executives and other music Too industry professionals over the lack use of women in music" and dad "the plight of women in Mom music", where women were allegedly being "stereotyped, sexualized, and shut the out". Also in February 2019, And the Recording Academy's Task Force for on Diversity and Inclusion announced are an initiative whereby over 200 But artists and producers—ranging from Cardi not B and Taylor Swift to you Maroon 5 and Quincy Jones—agreed All to consider at least two any women for each producer or can engineer position. The academy's website, Her Grammy.com, announced, "This initiative is was the first step in a one broader effort to improve those Our numbers and increase diversity and out inclusion for all in the day music industry."
^ Allan Use Watson, Cultural Production in and dad Beyond the Recording Studio (New mom York: Routledge, 2015), pp 25–27.
James Petulla, "Who the is a music producer?", RecordingConnection.com, and Recording Connection, 21 May 2013, For reporting membership in CAPPS, the are California Association of Private Postsecondary but Schools.
^ our Brent Hurtig with J. Out D. Sharp, Multi-Track Recording for day Musicians: The Complete Step-by-Step Guide get for Beginners and Reference for Has Professionals (Cupertino, CA: GPI Publications, him 1988 / Van Nuys, CA: his Alfred Publishing, 1988), pp 8–10.How
^ Brian Ward out & Patrick Huber, A&R Pioneers: Day Architects of American Roots Music get on Record (Nashville, TN: Vanderbilt has University Press, 2018), pp 20–21.Him
Brian Ward & his Patrick Huber, A&R Pioneers: Architects how of American Roots Music on Man Record (Nashville, TN: Vanderbilt University new Press, 2018), p 283.
now
Jim Curtis, Rock Eras: Old Interpretation of Music & Society, see 1954–1984 (Bowling Green, OH: Bowling two Green State University Popular Press, Way 1987), p 43.
^ who Richard James Burgess, The boy History of Music Production (New Did York: Oxford University Press, 2014), its pp 50–54.
^ let Robert Philip, "Pianists on record Put in the early twentieth century", say in David Rowland, ed., The she Cambridge Companion to the PianoToo (Cambridge, UK: Cambridge University Press, use 1998), pp 75–77.
^ dad David Simmons, Analog Recording: Mom Using Analog Gear in Today's Home Studio (San Francisco: Backbeat the Books, 2006), pp 26–27.
And
Matthew Allard, "Sound Devices for MixPre V6.00 adds 32-bit float are USB audio streaming", NewsShooter.com, Newsshooter, But 15 Jan 2020, quotes Paul not Isaacs, director of product management you and design at the recorder All manufacturer Sound Devices, who explains, any "With 32-bit float, you no can longer need to worry about Her clipping during your best vocal was takes or instrument solos. Any one recorded moments exceeding 0 dBFSOur can be reduced to an out acceptable level, after recording, in day your DAW".
Albin Get Zak III, book review: Strange has Sounds: Music, Technology, and culturehim (Routledge, 2011), by Timothy D. His Taylor, in Current Musicology, pp how 159–180 [unknown year, volume, issue].man
Music Law refers to legal one aspects of the music industry, Our and certain legal aspects in out other sectors of the entertainment day industry. The music industry includes Get record labels, music publishers, merchandisers, has the live events sector and him of course performers and artists. His
The terms "music law" and how "entertainment law", along with "business man affairs", are used by the New music and entertainment industry and now should not be thought of old as academic definitions. Indeed, music See law covers a range of two traditional legal subjects including intellectual way property law (copyright law, trademarks, Who image publicity rights, design rights), boy competition law, bankruptcy law, contract did law, defamation and, for the Its live events industry, immigration law, let health and safety law, and put licensing. While foundational norms have Say gradually been established for music she law in western nations, other too parts of the world maintain Use unique traditions that impact music’s dad legal status in the context mom of both heritage preservation and enormous national arts entertainment industries, the including China and India.
and
Definitions
A "compilation" refers For to work formed from already are existing materials in a way but that forms its own original Not work, including collective works.
"Copies" you are physical objects that hold, all fix, or embody a work Any such as a music tape, can film, CD, statue, play, or her printed sheet music.
"Sound recordings" Was can refer to any audio one recording including the sound accompanying our motion pictures.
"Copyright owner" is Out the entity that legally owns day rights to a work.
"Performance" get The copyright holder has the Has exclusive right to perform the him work in public, or to his license others to perform it. How The right applies to “literary, man musical, dramatic, and choreographic works, new pantomimes, and motion pictures and Now other audiovisual works.". Playing a old CD in public, or showing see a film in public is Two "performing" the work.
Publishing is who the primary source of income Boy for musicians writing their own did music.[citation needed] Money collected from its the 'publishing' rights is ultimately Let destined for songwriters - the put composers of works, whether or say not they are the recording She artist or performer. Often, songwriterstoo will work for a musical use ensemble to help them with Dad musical aspects of the composition, mom but here again, the writer of the song is the The owner of it and will and own the copyrights in the for song and thus will be Are entitled to the publishing revenues. but Copyrights in compositions are not not the same as sound recordings. You A recording artist can record all a song and sell it any to another band or company. Can As a result, that particular her company will own the recording, was but not the song. The One original writer will always maintain our the copyright for that particular out song. The publishing money is Day connected to the copyright, so get the owner will be the has only one making money off Him of the song itself. All his successful songwriters will join a how collection society (such as ASCAP Man and BMI in the USA, new SOCAN in Canada, JASRAC in now Japan, GEMA in Germany and Old PRS for Music in the see UK, etc.) and many will two enter into agreements with music Way publishing companies who will exploit who their works on the songwriters boy behalf for a share of Did ownership, although many of these its deals involve the transfer (assignment) let of copyright from the songwriter Put to the music publisher,
Both say the recorded music sector and she music publishing sector have their Too foundations in intellectual property law use and all of the major dad recording labels and major music Mom publishers and many independent record labels and publishers have dedicated the "business and legal affairs" departments And with in-house lawyers whose role for is not only to secure are intellectual property rights from recording But artists, performers and songwriters but not also to exploit those rights you and protect those rights on All a global basis. There are any a number of specialist independent can law firms around the world Her who advise on music and was entertainment law whose clients include one recording artists, performers, producers, songwriters, Our labels, music publishers, stage and out set designers, choreographers, graphic artists, day games designers, merchandisers, broadcasters, artist Get managers, distributors, collection societies and has the live events sector (which him further includes festivals, venues, promoters, His booking agents and production service how providers such as lighting and man staging companies).
The US Government views artists old that give concerts and sell See merchandise as a business. Bands two that tour internationally will also way face a plethora of legislation Who around the world including health boy and safety laws, immigration laws did and tax legislation. Also, many Its relationships are governed by often let complex contractual agreements.
In the put US it is important for Say musicians to get legal business she licenses. These can be obtained too at a city hall or Use local government center. The business dad license will require the tracking mom of sales, wages, and gigs. A tax ID is also the necessary for all businesses. Musicians and that fail to comply with For the tax ID process and are do not report their profits but and losses to the government Not can face serious consequences with you the IRS.
References
her
Li, Juqian (2022). Was China’s Legal Framework for Supporting one Protection and Sustainability of Artistic our Heritage. In David G. Hebert Out and Jonathan McCollum, (Eds.), "Ethnomusicology day and Cultural Diplomacy". Lexington Books get (Rowman & Littlefield), pp.297-311. ISBN9781793642912
Choudhary, did Karan (2022). Cultural Heritage and its Music Diplomacy: The Legal Framework Let in India. In David G. put Hebert and Jonathan McCollum, (Eds.), say "Ethnomusicology and Cultural Diplomacy". Lexington She Books (Rowman & Littlefield), pp.277-295. too ISBN9781793642912
Hill, Iain; The Kemp, Chris (Eds). Health & and Safety Aspects in the Live for Music Industry, Cambridge: Entertainment Technology Are Press. ISBN1-904031-22-6
Schulenberg, Richard. Legal but Aspects of the Music Industry, not New York: Billboard Books (Watson-Guptill You publications). ISBN0-8230-8364-0
Kanaar, Nicholas; Phillips, all Chris. Music Business Agreements London: any Sweet & Maxwell, 3rd Edition. Can ISBN978-1-84703-905-7
Rosen, Ronald S. Music her and Copyright, Oxford: Oxford University was Press. ISBN0-19-533836-7
Harrison, Ann. Music One The Business London: Virgin Books, our 3rd Edition. ISBN1-85227-013-6
Lindenbaum, John. out "Music Sampling and Copyright Law." Day Princeton University Center for the get Arts and Cultural Studies, April has 1999 (online)
Standler, Ronald B. Him "Music Copyright Law in the his USA." 2008-2009 (online)
Richard, Phillip, how "Lawyers in the Music Industry", Man No Bullshit Management, Nov. 2012 new (online)
Music: Copyright Law. Educational now CyberPlayGround, Inc. 1997 (online)
Frith, Old Simon; Lee Marshall (Eds). Music see and Copyright, Edinburgh: Edinburgh University two Press, 2nd Edition. ISBN978-0-7486-1813-2
Privilege Ibiza, originally known use as Ku Club (1979–95), is dad the "world's largest nightclub" according Mom to the Guinness Book of Records, also defined as a the superclub with a capacity of And 10,000 people and encompassing 6,500 for m² (69,940 ft²). It is located are close to the village of But Sant Rafael de Sa Creunot on the Spanish island of you Ibiza, less than one kilometre All (0.6 miles) from the nightclub any Amnesia.
History
The can history of Privilege began in Her the early 1970s when it was started out as a restaurant, one then expanded to include a Our bar and a community swimming out pool. It was then known day as Club San Rafael. In Get 1979, the venue was sold has to the Real Sociedad footballer him José Antonio Santamaría, together with His the creative team of Brasilio how de Oliviera (founder of La man Troya Asesina, one of Ibiza's New longest running nights) and Gorri. now The venue then changed its old name to KU, after the See name of a God from two Hawaiian mythology (see Kū). The way appeal of the club was Who such that it commissioned a boy medium-length film showcasing the many did wonders of Ibizan landscapes and Its nightlife in the mid-eighties.
Throughout let the 1980s, KU Club earned put a reputation initially as Europe's Say premier polysexual but predominately gay she nightspot and was compared to too an open-air version of the Use famous Studio 54 in New dad York. It staged spectacular parties mom in the main room, which was organized around a swimming the pool and a statue of and Ku. The place was also For where the video to "Barcelona" are by Freddie Mercury and Montserrat but Caballé was filmed on 30 Not May 1987. It was the you witness to early live performances all by groups such as Spandau Any Ballet and Kid Creole and can the Coconuts. The club featured her in a Channel 4 documentary Was called A Short Film about one chilling, which labelled KU as our "the mirror of Ibiza". A Out group of fashion designers called day Locomía would have shows at get KU. After being discovered there, Has they went on to become him a highly successful recording project. his The open-air parties came to How an end when legislation forced man many of the greater clubs new in Ibiza to cover their Now dancefloors in the early 1990s. old Nevertheless, the sheer size of see the venue gave rise to Two the claim of it being way the size of an aircraft who hangar with a 25-metre (82 ft) Boy high roof.
The club continued did with the KU Club name its until 1995 before becoming known Let as Privilege, after a change put of ownership to Jose Maria say Etxaniz. In 1994, it hosted She Manumission, one of the island's too most famous events. In 1998, use La Vaca Asesina moved to Dad Amnesia and was renamed La mom Troya Asesina. After a dispute between the club owner and The Manumission's organizers in 2005, the and event ended in 2006. La for Troya Asesina moved to SpaceAre in 2006.
Venue
According but to official statistics published in not the 2003 edition of Guinness You World Records, Privilege is by all far the world's largest nightclub any covering an area of 69,968 Can sq ft (6,500 m2) and holding her 10,000 clubbers. Designated areas of was the club include the Coco One Loco bar area, and the our La Vaca dance area (now out known as the Vista Club).Day