Category Archives: Uncategorized

A Podcast on BECK

Click: A short Podcast on BECK

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This is an Independent audio podcast I created and put together for my MHII class regarding BECK as a musician, singer-songwriter, producer, his inspiration in music and his biggest selling album Odelay.I used samples from various albums of his I own. Thank you for listening and I hope you enjoy.

By Adrianna Parnagian

https://soundcloud.com/adriannarama/beck-podcast-by-adrianna

Listen to some of his tunes here:

www.last.fm/music/Beck/Odelay

You can get more info on Beck at his personal site from www.beck.com

A Fantasy Band

Hello, greetings and salutations.

In this post I will be discussing a fantasy band creation completely contrived of a combination of brilliant and amazing musicians in the industry from different decades that will imaginatively create a mark in musical collaborations, if it were to actually develop in my universe. In a day and age where collaboration projects and partnerships are emerging, filled with super-star talents sharing their styles and musical ideas collectively for a grand end result this would be one of my production concepts.

As a producer this would be an ideal manufactured creation to capture a unique and exclusive experience, for not only the musicians involved, but for music lovers around the world. Organizing the ensemble, I would implement the jazzy, funk rhythmic sounds of Stuff from the mid 70’s. That would be an intriguing and fun start. Stuff was a group of talented studio musicians coming together to construct a new and groovy sound. Similar to that, as producer in a fantasy project, I am recruiting the Stuff rhythm section to conceptualize my new project. First, I would recruit Steve Gadd to do drums and percussion, Gordon Edwards and his wicked bass, as well as Richard Tee on the keys.

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A fantastic principal performer to add to this blend of talented recruited musicians would be guitar and musical extraordinaire Jimmy Page of Led Zeppelin. He is not only one of the most influential guitarists in all of rock ‘n’ roll history, but also a veteran studio musician that has worked with many other talented greats in the industry. Page’s musical style blended with his distinct Gibson sound and studio effects he so melodically constructs would be the perfect sound in this studio project. The blues infused riffs intertwined with the traditional rock sound Page exudes would mesh harmoniously with the Stuff rhythm section backing his guitar brilliance.

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Adding to this star-studded fantasy line-up would be Eddie Vedder of Pearl Jam. His distinct and powerful vocal sound and style would fit quite nicely. Pearl Jam has had an amazing array of great albums over the past two decades and has really demonstrated versatility and success. This influential and accomplished combination would surly deliver a remarkable studio album with a timeless composition.

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The result would sound like jazzy infused rock with a combination of bluesy undertones and funk roots really harmonically driven. The project will consist of 5 original tunes and 3 covers. This collaborative band project would call themselves The Friendlies, album titled Friendly Fire. Stevie Wonder would also be added to the studio list for his piano genius to accompany a few of the songs. Having this combination of musicians the production will push the limits of entirely new musical studio collaboration. As a producer it would be an amazing opportunity and learning experience working with such accomplished and talented artists, especially in one album. This arrangement will not only be pleasing to many varieties, but to actuality be a part of a rock ‘n’ roll masterpiece is what would make this fantasy creation just simply amazing. These musicians have demonstrated their professional studio talents and producing the project would be an amazing experience.

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A few elements would be needed to market this projects it receives the attention it would so deserve. It would be through ads heavily through a social media buzz through all the popular websites in order to gain a varied  and increased demographic. Having well-established names under this project is an added bonus for marketing techniques.

As a producer in a subjective industry it is almost always essential to fully understand the needs and visions the artist is trying to exude, while adapting that input to another artistic dimension for it to be heard and enjoyed cohesively. It was fun creating a fantasy band for a studio production project. I thank you in advance for reading my blog post and really hope you enjoyed it and can envision the fantasy band that I came up with.

Thanks. :”)

By Adrianna Parnagian

David Bowie – “The Rise and Fall of Ziggy Stardust and the Spiders From Mars”

Greetings and salutations,

As we dive deep into the world of music, I will be discussing one of David Bowie’s incredibly amazing and extraordinarily recognized album “The Rise and Fall of Ziggy Stardust and the Spiders From Mars”.

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It was released in 1972 and is one of the highest regarded albums in rock music’s history, originating an entirely new genre of glam elegance intertwined within rock that was crafted by David Bowie. “The Rise and Fall of Ziggy Stardust and the Spiders From Mars”, is conceptual album poetically surrounded by vividly composed melodies telling the story of an alien rock star named Ziggy Stardust. During the reasonable peak of glam’s explosion, Ziggy Stardust was created with a wide arrangement of glitz, heavy guitars and hooks, string sections, keyboards, and obviously dramatic embellishments.

David Bowie created his musical career in the 60’s developing as a supremely musical chameleon featuring his many different forms and styles impacting music and other artists. Ziggy Stardust was initially released in 1972 earning gold and platinum status. It came in at number 5 in the UK and at 75 on the US Billboard Music Charts. The album has had a major impact on the industry with impressive recognitions and stats throughout the years from respected media all over the world. TIME magazine dubbed it as one of the 100 best albums of all time, it was number 35 in Rolling stone’s top 500 greatest albums of all time, as well as countless other polls nominating its greatness in musical history. “As was the case with Miles Davis in jazz, Bowie has come not just to represent his innovations but to symbolize modern rock as an idiom in which literacy, art, fashion, style, sexual exploration and social commentary can be rolled into one.” – Rolling Stone magazine

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There are several characteristics that make the Ziggy Stardust album quite unique. Considering the immense growth of rock music during the course of the last 50 years or so, very few artists were as methodically inventive, diverse, and yet so intense and influential as David Bowie. The album itself being full of catchy, attitude driven, enthralling and hypnotic elements is themed with Ziggy, the fictitious human manifestation created by Bowie, of an alien rock star’s rise and demise while trying to present earth with a message of hope within the last five years of its existence. The ensemble of musicians on the album consisted of Bowie doing vocals, sax, acoustic guitar, piano, harpsichord and arranging. Mick Ronson playing guitar, Trevor Bolder on Bass, and Mick Woodmansey on drums that helped create and transport the intended concept flawlessly. The songs on the album are quite unique and flow smoothly depicting the fascinations with sexuality and outer-space representations with a way to limitless possibilities not yet discovered while incorporating in the music and capturing the insanities and perplexities of life, youth and the future.

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The impression this album has left on me as a musician, listener and industry professional is beyond inspirational and encouraging. I grew up respecting and admiring David Bowie and his brilliant music especially this particular album. A true innovator of style and talent that is significantly recognized in this album as well as his other great works. To some degree this album exemplifies to me a place where misfits and rebels can belong to something greater. At the time when the conceptual album was at its pinnacle it really defined a musical and artistic statement.

What inspires me most is essentially that David Bowie really made his mark by not being afraid to demonstrate individualism and originality at a time when most were afraid to step outside of the box for fear of devastation and failure. As a musician, songwriter and producer I see myself harnessing that freedom of expression without having to be afraid to be different or subject to a certain idea. It is our job as artistic and musical creators to share our thoughts, dreams and passions through a universally understandable outlet. I could only hope and dream to reach such an exorbitant amount of people so deeply like Bowie did.

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Slowly chipping away at the jaws of the music industry as a producer, engineer and industry professional I see myself fitting in this giant realm of the music industry, having a successfully flowing and well-established client base for Soul Shakin Studios within 5 years, our family created dream set into motion this year. The industry is bulging with all forms of media and entertainment in need of auditory assistance with a dependable, trustworthy and knowledgeable staff that they can rely on at any time, while specializing in a variety of genres, styles and aspects of audio production and post. Knowledge and talent are essential qualities in this industry and fitting into the giant realm of music is not easy when everyone wants a piece of the dream pie. Wearing several hats as a student, musician, producer and engineer I am constantly evolving, learning and developing especially with albums like Ziggy Stardust to ignite our creative juices to another level and really inspire the freedom to change and be extraordinary.

It can be very discouraging at times and yes it is a extremely subjective, critical as well as a difficult industry to succeed in, but it can also be done and it is proven in many instances. Ziggy Stardust is brilliant artistic album that demonstrates an example of passion and individuality that can catapult creative change successfully, while engaged with passion, perseverance and an individualistic elegance.

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Thank you so much for reading my thoughts on David Bowie’s, “The Rise and Fall of Ziggy Stardust and the Spiders From Mars” album. Every song on this album is fantastic to me from “Five Years to “Rock ‘n’ Roll Suicide” and is a must listen for musicians, students, producers and music enthusiast of all varieties.

By Adrianna Parnagian

Electronic Music Innovations: Raymond Kurzweil

Hello, greetings and salutations.

In this blog post I will be discussing electronic music innovations and how the inventor, Raymond Kurzweil plays an imperative role in electronic music and the industry.

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It’s true that when we hear the name Raymond Kurzweil we think of the keyboard that he designed. That is really a small scope of all the amazing accomplishments he has achieved. In 1970 he graduated from MIT with a degree in Computer Science and Literature and is admired as a futurologist, inventor, author and in recent days the director of engineering at Google. Kurzweil has authored seven books, five of which have been national bestsellers. He has written books regarding technological singularities, artificial intelligence and futurism He specializes in complex fields of optical character recognition (OCR), speech recognition technology, text-to-speech synthesis and of course electronic keyboard instruments. He also speaks publicly on the future of nanotechnology, biotechnology, robotics, life extension technologies and several futuristic technological advancements. Kurzweil speaks broadly to all audience’s presenting keynote speeches at industry conferences like SXSW, DEMO and TED. Kurzweil invented the first CCD flatbed scanner, the first commercial text-to-speech synthesizer, the first print-to-speech reading machine for the blind, the first omni-font optical character recognition, the first commercially sold, large-vocabulary speech recognition and the first music synthesizer, the “Kurzweil K250”. This magnificent keyboard was capable of recreating orchestral instruments and a grand piano. This keyboard invention had a major impact on music and revolutionized a world of new possibilities for electronic music.

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In 1982 Raymond Kurzweil founded Kurzweil Music Systems, dubbing Stevie Wonder as his musical advisor. In 1983, the original Kurzweil K250 was created and specially mass-produced for Stevie Wonder. The K250 included a multitude of acoustic and synthesized sound options. It had a music sequencer using battery backed RAM and a sampler to record the sounds on the RAM. The K250 had Braille buttons beside the sliders for assorted controls and functions. The Kurzweil K250 was officially released to the music industry during the 1984 Summer NAMM trade show and was then commercially manufactured and available as a fully weighted 88-key keyboard with an expander unit and without keys called the “Kurzweil K250 XP”. A rack mount version was also obtainable called the K250 RMX. This electronic music innovation impacted the music industry in a gigantic way.

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The K250 is predominantly recognized as the first electronic instrument to authentically reproduce the sounds of an acoustic grand piano. It is able to play up to 12 notes concurrently, which is known as 12-note polyphony or multi-timbre, playing multiple sounds on the same note simultaneously. Before that, the bulk of electronic keyboards used synthesized sounds and mimicked acoustic instrument sounds integrated in other electronic instruments using assorted waveforms constructed by oscillators. So many artists and composers have used Raymond Kurzweil’s K250 keyboard. Artists like Stevie Wonder, Tori Amos, Prince, Neil Diamond, John Williams, Herbie Hancock, Huey Lewis and the News, and countless others.

The impressions that Raymond Kurzweil leave with me as a listener, musician and industry professional is mind blowing. His accomplishments in his life and with the K250 led to many great creations in music and the Kurzweil Music Systems. As music continues to advance into bigger technologies and expansions, Kurzweil’s genius was a major gain in the music industry that will continue to ignite the creative outlet for musicians and composers.

Thank you for reading my post on the genius inventor Raymond Kurzweil.

By Adrianna Parnagian

Kraftwerk

Hello, greetings and salutations.

In this blog post I will discuss Kraftwerk and their musical originations, as well as the influential impact they brought from Germany in the late 70’s. This electro-pop driven sound that was undoubtedly ahead of its time, consequently inspiring a new form of electronic music making and their effects in the industry.

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Kraftwerk’s music and the image they represented were very distinguishing and quite original to say the least. During the 70’s and early 80’s, Kraftwerk’s unique sound pioneered a permanent influence within many genres of modern music. Kraftwerk exposed a unique style of synth driven technology, artistically motivated by various ideas and distinct elements that they presented in their style and music. They had a certain sensory relationship with the electronics and synthesized elements they used in creating their music.

Kraftwerk released some trailblazing albums. Early line-ups for the group varied quite often. Hütter and Schneider the original founding members worked with several other musicians in the interim of recording at least three of there albums and many random live events. Schneider played flute, guitar and violin while processing them through a multitude of various electronic effects. Hütter played synthesizers, electric piano and a Farfisa organ. Their first few albums were not typically structured songs or carried any pop like methodical hooks. The first two albums being purely instrumental,  “Kraftwerk” and “Kraftwerk 2” were very experimental rock albums. A lot of the music they played was on traditionally used instruments including, bass, flute, violin, drums and an electronic organ.

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They used many post-production modification techniques to manipulate these desired sounds within the recordings. They used a lot of audio tape manipulation and multiple dubbing on one track. They performed live shows in Germany and occasionally in France, as a duo for a brief period in 72’ and 73’ using beat boxes and drum machines with synth presets. In 1973 Wolfgang Flür came aboard playing electronic percussion and drums as well as their third studio album “Ralf and Florian” was released. The album was written, performed and produced by Ralf Hütter and Florian Schneider and engineered by industry known Konrad “Conny” Plank. The album has a noticeably richer and more polished sound quality than previous ones, due to the use of Kraftwerk’s own Kling Klang Studio. Plank co-produced and engineered four of Kraftwerk’s albums and as his input was highly significant. Kraftwerk began moving much closer to a very defined and distinct sound, expressed heavily with synths, drum machines and using the Vocoder as one of their musical signatures, a futuristic, ultramodern, robotic sound. The album released by Kraftwerk in 1974 “Autobahn” was the last album Plank engineered. It reached international success and peaked at number 5 in the Billboard Top 200 charts. They updated their electronic technology within their studio with gear like the EMS Synthi AKS, ARP Odyssey and the Mini Moog.

In 1975 Kraftwerk had label support and played live shows and went on tour through the UK, Canada and USA to promote the “Autobahn” album. The tour featured a four-piece group performing with self-made electronics. Hütter and Schneider both mainly played keyboard parts on synthesizers and also sang for the first time and using a Vocoder live. Flür and Karl Bartos performing live with electronic percussion and implementing a Deagan Vibraphone on stage. Hütter, Schneider, Flür and Bartos creation continued till the late 80’s and are considered to be the definitive line-up for Kraftwerk live.

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After the Autobahn tour in 1975, and further investing in gear and upgrading Kling Klang Studios, Kraftwerk released “Radio-Activity”, the theme being derived from their mutual interest in radio communication. In 76’, Kraftwerk went on tour to promote the “Radio-Activity” album. The album was not as successful in the UK and United States, however gaining them more popularity in France and giving them a Gold Record. With the releases of “Autobahn” and “RadioActivity”, Kraftwerk had moved on from its unconventional experimentations and had developed towards electronic pop tunes. After the RadioActivity tour of 1976, Kraftwerk decided to break from live shows. David Bowie was motivated by the album and asked the band to support him on his “Station to Station” tour but they declined, a collaboration was also discussed but it never materialized. During this time they started recording their next album titled “Trans-Europe Express”, at King Klang. It was defined as an exaggerated train journey and released in March of 77’.

In May 1978 Kraftwerk released another new album titled “The Man-Machine”. The band appointed sound engineer Leanard Jackson and Joschko Rudas for the final mix of the album. It was was the first Kraftwerk album that Karl Bartos was co-credited as songwriter. The Man Machine became a hit in the UK, topping at number 9 in the album charts. It also demonstrated Kraftwerk’s distinguishing style as they exhibited within the album artwork. They spent a lot of time modifying their equipment so they can precisely emulate their sound live. During the same time they were working on their “Computer World” album and in May of 1981 it was released, being a reflection on computer technology.  Certain vocals done on the album were created using a Texas Instruments, Language Translator and various sequencing equipment for certain percussion and musical parts. “Computer Love” and “The Model” were prominent releases. “The Model” single reached number one on the UK charts, making it Kraftwerk’s most successful record in the UK. Coming back to the live scene with their Computer World tour that was launched in 1981. During this tour Kraftwerk really developed a use of visual elements intertwined within their shows and technologically developed gear used on stage that is all synchronized to their musical performance. In 1982 they released “Techno Pop” and “Electric Café” in 1986, leading to their several year hiatus. By this time now pop music was dominated by synthesizers and drum machines and the group’s best-of collection titled “The Mix” was released in 1991 and the group didn’t release anything for the rest of the decade. A new single titled, “Expo 2000,” was released in 99 with tour dates attached. In August 2003 they released a centennial anniversary of “Tour de France” with a new version of the single and followed it up with a “Tour de France Soundtracks” album. In 2005, the live album “Minimum-Maximum” was released. Kraftwerk continues to tour and make music.

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Kraftwerk’s recognized as the “electro-pop” forerunners. Many of Kraftwerk’s songs express the enigmatic nature of city life and a revel in modern electronics and technology, as well as playing an integral role in the rhythmic structure of the songs. Live performances have always been an essential role in Kraftwerk’s career. Some of the band’s familiar compositions have been developed from live improvisations at shows usually formulated around songs and compositions as it continued to be an integral use of digital and computer-controlled sequencing in performances.

Throughout their musical career, Kraftwerk integrates depictions of industrial sounds into a form of electronic music pushing the limits of musical technology with the use of self-made instruments and custom built devices. The group has always used their Kling Klang Studio as an integral musical instrument as well as their music making facility. Technical aspects of sound generation and recording gradually became the main focus within the band. Kraftwerk has always been one step ahead of the future, even though they are now from the past with over 12 albums released. Their definitive, pulsing sound and unexpected brilliance became a significant element in pop, techno, hip-hop and modern electronic music. They assisted in captivating experimental electronic production of music to an entirely new level.

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The impression Kraftwerk has on me as a listener, musician and industry professional is very innovative to say the least. They were really ahead of their time opening a whole new world of electronic music and various elements and methods incorporated in their style that really encouraged new ideas and forms of music and beat making. I am fascinated by certain techniques they used in acquiring certain digital sounds that is implemented in music, games, and almost everything today. Kraftwerk really left a mark in the music industry as a whole with electronic music and its growth.

Thank you for taking the time to read my thoughts on Kraftwerk.

By Adrianna Parnagian

Marvin Gaye – What’s Going On?

Hello, greetings and salutations,

In this discussion post I will feature topics regarding Marvin Gaye’s “what’s Going On” and all the obstacles that he faced throughout its release.

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Marvin Gay was an inventive musician, singer and songwriter, and is regarded as one of the most extraordinary, visionary, and amazing talents ever propelled by the Motown influx, despite much of the difficulties he faced in his life with loss and illness, with this project, Motown and Barry Gordy. Marvin Gaye was first signed to Motown in 1961 as a session drummer for Smokey Robinson and the Miracles. Simultaneously meeting Gordy’s sister Anna and married her. His solo release “Pride and Joy” landed him in the top 10. He developed a passion for romantic ballads as well as a change in style that clashed with Gordy and Motown. His artistic ambitions differed from the demands the label was incurring, creating a long running battle with him, the label and its demands for chart success.

Affected by his brothers Vietnam stories, Marvin Gaye had been on a mission to tackle social issues through his music. He was trying to change direction in his artistic visions. Working on songs and developing his musical outlet, he stumbled on “What’s going on” triggering the outlet he needed for his emotions, originally created by Obie Benson of the Four Tops, while at a protest in San Francisco in 1969.

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Gaye combined vocal spirituality of his gospel roots with the expressiveness and soulfulness of the song’s jazz infused rhythms. What’s Going On was a protest song on America’s struggles and Marvin Gaye’s personal conflict. Gaye sang in reference to his unsettled relationships, of his father, but also for humanity. Marvin Gaye’s beautifully constructed What’s Going On is a song concentrating on an enigmatically distinctive, jazzy sound with profound lyrics regarding war and socio‑economic issues as well as generating the pinnacle of artistic musical expression. What’s Going On was the first of Marvin Gaye’s albums to allow him credit as the sole producer. What’s Going On was different from anything that Gaye or Motown had previously issued, inspired from the classic track of the same name that he’d recorded in 1970 and it hit number two on the Billboard Hot 100 in 1971.

Berry Gordy, the Motown CEO rejected and refused to release “What’s Going On” when Gaye presented it to him with the religiously‑infused B‑side “God Is Love” simply because he didn’t like it.  While quality control gave it a negative response. Marvin Gaye reacted by refusing to record any other projects till they released it. As it was released it sold out within 24 hours having to press more to fulfill the demand. “What’s Going On” then hitting the top position on the R&B charts, shifting over two‑and‑a‑half million units, making it the fastest‑selling release in Motown’s history up until that point. What’s Going On continued on the Billboard Top 200, selling over two million copies and was named “Album Of The Year” by Rolling Stone in 2003, ranking it number 6 on the “500 Greatest Albums Of All Time”.

The success of the album allowed Gaye much more freedom and control from the previous restrictive reigns Motown had held. He was able to change directions once again with “Trouble Man”, “Let’s Get It On” and other popular projects. Marvin Gaye’s vocal techniques and innovative arrangements with session players really set him apart from other recordings Motown usually released.

After his divorce, re-marriage and other issues surmounting in his life He released in 1981 a philosophical album titled “In our lifetime” which ultimately severed his long-standing relationship with Motown. Having disputes with the final release he signed with Columbia. After a series of hardships and suicide threats, Gaye made his comeback and reconciliation with Barry Gordy doing “Sexual Healing”, celebrating Motown’s silver anniversary.

Gaye eventually moved back home to rebuild and heal. His father always had issues with his success. A day before his 45th birthday in 1984 he was shot and killed by his father Marvin Gaye Senior in an apparent heated argument. After his tragic death Motown and Columbia released two 1985 collections of erotic funk songs titled “Dream of a Lifetime” and a big band inspired collection titled “Romantically Yours” that took well over 12 years to complete and didn’t get properly released till 1996. In 1987 he was inducted in the Rock and Roll hall of Fame, forever dubbing him as a musical great. His death also brought a reassessment to “what’s Going On” deeming it to be one of the landmark albums in musical pop history.

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The impression “What’s Going On” has on me as a listener, musician, and industry professional is far beyond inspiring. As Marvin once quoted, “To be truly righteous, you offer love with a pure heart, without regard for what you’ll get in return. I had myself in that frame of mind. People were confused and needed reassurance. God was offering that reassurance through his music. I was privileged to be the instrument.” Even through all the dark times he faced he persevered his visions and art that ignited his work. His passion and dedication is easily felt and noticed through his compositions. I am inspired by his strength and insight that he portrayed so deeply in his music.

Thank you for reading my thoughts on Marvin Gaye.

By Adrianna Parnagian

Brian Eno – 40 Years of changing music

Brian Eno

Hello, greetings and salutations,

In this blog post I will discuss Brian Eno – 40 years of changing music, and his magnificent evolution that has come to play in the music industry. He is a man of many abilities and talents with a massive catalog of music, collaborations, installations, and art productions including some of the most acclaimed records in the history of modern music. Artists as pivotal and yet diverse like, Robert Fripp, John Cale, David Byrne, Laurie Anderson, David Bowie, U2, Coldplay and Paul Simon have all chosen to work with Eno. Eno is one of the most pursued and sought after producers in the industry working the gamut of ambient, experimental, and contemporary music, ranging from guitar compelled rock, scoring, soundscapes, synth and various electronic elements. Music is just one faceted element in Eno’s creative endeavors and developments, being also a speaker, visual artist, and writer.

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Diving into the mind of Eno, he is not only synonymous with ambient and generative music, but his production techniques, chance music and his collaborations with other musicians are very distinguishable. Brian Eno is recognized as an influential, iconic symbol within music’s global contemporary perspective. He has composed, performed, recorded and produced some of the most brilliant and distinctive music throughout the last forty years and established a certain cultural creation that bonds conceptual art, music, applications and blending them together refined.

Eno’s early inspiration to musical avant-garde was always immersed in wit and an avid affection for classical history and modern music. Brian Eno was inspired by ambient music at a very young age recovering from an accident listening to music and discovering the combinations of natural sounds layered with old 18th century classical compositions. It’s where he first discovered a new musical language that inspired a multitude of creations. Eno’s influences were apparent in minimalism, avant-garde, instrumental, experimental, and ambient compositions created over the years.

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In comparing and contrasting particular projects out of the countless creations Brian Eno has done would be only a fraction in mentioning his talents and accomplishments that he has successfully proven throughout the years without writing a book. Starting from the release of Roxy Music in 1972 and shortly after in 1975, he and Peter Schmidt created the oracle like chance cards famously known as the “Oblique Strategies”. It was also in the 70’s that Eno founded the Obscure label. The sequences would include Eno’s own “Discreet Music”, an example of ambient music that’s a comprised recording of modest variations of musical tones.

By the late 70’s, in comparison to his prior work, Eno’s recognized collaboration with David Bowie merged with his own ambient series release “Music For Films” originating Eno as the quintessence of plentiful, expressive post-punk, industrial, synth and electronic music like Devo, Talking Heads, Ultravox, and Snatch to name a few. It has also been contemplated by many that Eno is a Phil Spector-like brand for the original bands that are empowered by this form of punk. As an innovator of extensive methods of musical constructing, Eno’s virtuosity as a producer relies on his knack for varied tone and temperament and inspiring musicians to discover their own creativity in inventive and imaginative ways in the studio.

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“My Life In The Bush of Ghosts” collaboration with Talking Head, David Byrne was first released in 1981, then again in 2006 for its 25th anniversary. Eno and Byrne featured it in a website so fans of the song could legally download multi-tracks of two songs, old and new, remix their own version and repost them publicly. An album that’s constructed on chance with Eno altering a drum machine, syncing tape loops to a chorus, various samplings and linear notes intertwining there admired collaboration. In equating projects the Talking Heads “Remain in Light” album demonstrates insight into the diverse artistic approach that Eno applied establishing an inventive, yet diverse style to the vocals and assorted layers and elements throughout the album.

As a producer, musician, composer, singer, keyboardist, guitarist, and multi-media visual artist, Eno’s projects and endeavors have set him apart in the music industry with a unique sound and technique. Pairing art and pop music in a completely different way of rationalizing music as an atmosphere, ambiance and experiment in sound, rather than a statement or expression. Eno’s characteristics combine intellectual, cultural and cerebral qualities of the past with a technological viewpoint of the future. Eno is also responsible for an aesthetic undertaking that encompasses worldly soundscapes.

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The impression Brian Eno’s music has on me as a listener and industry professional is inspiring, encouraging and intriguing. It not only stimulates my desire to implement these techniques in my own developments but also expand my horizons in creating and constructing my craft. Eno’s conception of minimal backgrounds and ambient music is reasonably shaped in a sense, even though much of the music previously examined intensifies beyond standard boundaries. The imprint of modern music with subtle atmospheric and impressionistic meditative concepts Eno communicates very expressively in his work. His recording methods have encouraged a change in the way musicians view the studio process with endless possibilities.

I hope you enjoyed my thoughts on Brian Eno. Thank you for reading my post.

By Adrianna Parnagian

Multimedia Presentation – Brian Eno

Hello,

greetings and salutations bloggers.

I hope the start of the new year is finding you well. For the music production enthusiasts, here is a link I am posting of my Music History II: Media Presentation assignment on Brian Eno. I hope you enjoy.

http://prezi.com/8asxxxv-usx1/?utm_campaign=share&utm_medium=copy&rc=ex0share

-For Educational Use  Only-

Thanks for your interest and time.

Adrianna Parnagian

Entry 3 – The Beatles, Revolver

Greetings and Salutations,

This third entry post will feature a discussion regarding The Beatles album Revolver and its impact in the ever-changing music industry. I will discuss various aspects of the Beatles musical career and how their image developed and progressed up to their Revolver release.

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The Music and image The Beatles portrayed before the album Revolver was really like night and day. True, Beatles fans would enjoy the growth and change in the entire collection of songs and albums, but there is a big distinction between the early Beatles verses the later Beatles. It is an apparent transition seeing the teen heartthrob, bubble gum pop band from the early 60’s singing songs like “I Want To Hold Your Hand”, “ She Loves You”, “Cant Buy Me Love” and so many hit releases prior to Revolver. If you listen to their albums in a chronological order you will notice the gradual change in their style and growth as a band.

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Revolver in essence was an entirely new project that they undertook after taking a few months to break after the whirlwind of Rubber Soul and their consistent domination of worldwide charts. Revolver gave them the studio experience they needed to share their extensions musically. They stepped outside their regular musical formula and implemented prevalent brass sections, tape loops, various sound effects, horns, strings and Indian instruments.  The Beatles spent over 11 weeks creating their masterpiece Revolver with the young Geoff Emerick brought on board to engineer that defined an entirely different sound for them.

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Non-musical interest such as LSD, paying taxes, and political topics influenced the majority of the lyrical content for Revolver. For instance, John Lennon read Timothy Leary’s book “The Psychedelic Experience: A Manual Based on The Tibetan Book of the Dead” which inspired the track “Tomorrow Never Knows” on the album.

The Beatles used the studio as an instrument during the recording of Revolver by pushing the limits of what they could do with many inventive recording techniques. With the change in engineers came a new variation in the vibe and experimentation process that reflected in the album.  The Beatles really utilized the studio in such innovative ways with techniques that could not be reproduced in a live setting.

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In discussing certain innovations found on Revolver would be the magnificent use of tape loops, backward guitar parts, experimental vocal treatments and doubling instruments that are a few examples of using the studio as an integral innovation in their creation process. The artificial vocal doubling using the Leslie rotating speaker gave Lennon a distinct sound. The Beatles demonstrated this in the album by recording the lead vocals more than once that added depth and thickness to the mix. Drum compression was another innovation found on Revolver. It created a more prevalent and dynamic effect. The Indian sitar was also implemented for added instrumentation along with other various instruments filling the album with added new sounds.  

The impressions Revolver has bestowed on me, as a musician, music enthusiast, listener and industry professional is not only inventiveness and a brilliant vision, but also the innovative use of the studio and the impeccable devotion to every element in creating such a profound and intense album. The musical arrangements and compositions were so elegantly constructed launching an entire revolution of recording and creating to a completely new level.  Revolver really inspired and catapulted other artists and musical ideas into new horizons that were never used before. Even to this day many artists try to recreate the elements used by the Beatles in their studio projects and sounds.

Thank you for reading my post.

By Adrianna Parnagian 

Entry 2 – The Beach Boys, Pet Sounds

The Beach Boys Pet Sounds

Greetings,

This post will feature a discussion regarding The Beach Boys Album, Pet Sounds and its impact on music and recording in the industry. The beach boys carried a big sound that defined the 60’s and had many chart topping hits. They categorically made a mark in music defining a harmonious sound.

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The Beach Boys image and music prior to Pet Sounds were categorized as a pop “surf group”. It seemed to fit, since most of their songs and content reflected that image. For instance, “Surfin”,  “Surfin Surfari”, “Fun, Fun, Fun”,  “Surfin USA” and “Surfer Girl” were big Billboard hits to name a few. These catchy songs and melodies really defined the Beach Boys and their musical career. This earned Brian Wilson and Gary Usher, who is the producer known for creating the “California Sound”, the nickname “The King Of Surf.”

In discussing Brian Wilson and his role within the Beach Boys, he created the band in 1961 with Carl, Dennis, Al and Mike. Dennis, the drummer was the only member who actually surfed and suggested to Brian that they should do a song about surfing. Brian then took that idea and wrote, “Surfin” their first single. From 1961 to 1965 the Beach Boys continued this process making several albums and hits. They used the image successfully throughout their career.

Until the release of “Rubber Soul” by the Beatles in 1965, which at the time was considered to be the best pop album at the time. This struck a chord with Brian and was influenced by its sound. He changed the bands direction by creating an autobiographical conceptually linked album called Pet Sounds. This would be the first time the Beach Boys would have no musical input on their album. They were used only for vocal harmonies. This album proved to be a huge breakthrough and a massive success. This is all due to their leader Brian, who is credited as an arranger, composer, guitar player, keyboardist, Liner Notes, Member of Attributed Artist, organ, piano, producer, supervisor, vocals, and background vocals. Many factors shared influence on Brian when writing and recording Pet Sounds. Pet Sounds marked the Beach Boys and specifically Brian Wilson’s career with a sound and idea that was unexpected from the conventional Beach Boys and set a standard for conceptual albums.

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In discussing Pet Sounds, certain characteristics set it apart from other albums. It was an autobiographical, conceptually linked album that chronological soared from childhood to adult. Additional characteristics that set Pet Sounds apart were the intricate creations of vocal harmonies blended with pleasant counter melodies. A deeper lyrical point was established as they grew in their sound. Pet Sounds defined an evolved a story musically that could collectively be understood.

As a musician, music lover and industry professional, The Beach Boys Pet Sounds has had a major impression on me growing up and listening to the Beach Boys, their evolution as artists and how it has influenced my music as well as the industry. The album and its arrangements were expressed with a deep passion and emotion that can be felt throughout the entire album. Seeing an artists work evolve from good to great is the inspiration that keeps me passionate and determined to keep making music through passion and experience. Pet sounds really demonstrated to me how great a conceptual album can be and the meaning it can project.

By Adrianna Parnagian