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The Wall of Sound is a music production technique for pop and rock music recordings developed by record producer Phil Spector at Gold Star Studios in Los Angeles, California, during the early 1960s. Working with such audio engineers as Larry Levine and the session musicians who became known as The Wrecking Crew, Spector created a dense, layered, reverberant sound that came across well on AM radio and jukeboxes popular in the era. He created this sound by having a number of electric and acoustic guitarists perform the same parts in unison, adding musical arrangements for large groups of musicians up to the size of orchestras, then recording the sound using an echo chamber.

Description[link]

To attain Spector's signature sound, his arrangements called for large ensembles (including some instruments not generally used for ensemble playing, such as electric and acoustic guitars), with multiple instruments doubling many of the parts to create a fuller, richer sound. Spector also included orchestral instruments - strings, woodwind, brass and percussion - not previously associated with youth-oriented pop music. Spector himself called his technique "a Wagnerian approach to rock & roll: little symphonies for the kids".^[1]

Recording techniques[link]

Spector was known as a temperamental and quirky personality with strong, often unconventional, ideas about musical and recording techniques. Despite the trend towards multi-channel recording, Spector was vehemently opposed to stereo releases, claiming that it took control of the record's sound away from the producer in favor of the listener. Spector also greatly preferred singles to albums, describing LPs as "two hits and ten pieces of junk".^[2]

In the 1960s, Spector usually worked at Gold Star Studios in Los Angeles because of its exceptional echo chambers, essential to the Wall of Sound technique. Microphones in the recording studio captured the sound, which was then transmitted to an echo chamber—a basement room outfitted with speakers and microphones. The signal from the studio was played through the speakers and reverberated throughout the room before being picked up by the microphones. The echo-laden sound was then channeled back to the control room, where it was recorded on tape.

The natural reverberation and echo from the hard walls of the echo chamber gave Spector's productions their distinctive quality and resulted in a rich, complex sound that, when played on AM radio, had an impressive depth rarely heard in mono recordings.

Songwriter Jeff Barry, who worked extensively with Spector, described the Wall of Sound:

"[It's] basically a formula. You're going to have four or five guitars line up, gut-string guitars, and they're going to follow the chords...two basses in fifths, with the same type of line, and strings...six or seven horns, adding the little punches…formula percussion instruments — the little bells, the shakers, the tambourines. Phil used his own formula for echo, and some overtone arrangements with the strings. But by and large, there was a formula arrangement."^[3]

The Wall of Sound has been contrasted with "the standard pop mix of foregrounded solo vocal and balanced, blended backing" as well as the airy mixes typical of reggae and funk:

…he buried the lead and he cannot stop himself from doing that…if you listen to his records in sequence, the lead goes further and further in and to me what he is saying is, "It is not the song...just listen to those strings. I want more musicians, it's me."

— Jeff Barry, quoted in Williams 1974, p.91

This can be contrasted with the open spaces and more equal lines of typical funk and reggae textures [for example], which seem to invite [listeners] to insert [themselves] in those spaces and actively participate.

— Middleton 1990, p.89

While the Wall of Sound might give such an initial impression, further examination reveals that it is indeed more flexible, and it is a false premise that Spector filled every second with a megalomanic conundrum of noise.^[4]:

In fact, the 'wall of sound' was both more complex and more subtle. Its components included an R&B-derived rhythm section, generous echo and prominent choruses blending percussion, strings, saxophones and human voices. But equally important were its open spaces, some achieved by physical breaks (the pauses between the thunder in "Be My Baby" or "Baby I Love You") and some by simply letting the music breathe in the studio.

— Hinckley, Back to Mono (1958-1969), accompanying book (unnumbered page)

Closer reflection indeed reveals that the Wall of Sound was quite compatible with, even supportive of, vocal protagonism. Such virtuosity was ultimately serving of Spector's own agenda—the Righteous Brothers' vocal prowess provided him a "secure and prosperous headrest".^[5] Bobby Hatfield's rendering of "Unchained Melody" serves as an example:

Hatfield's wild hungry emotion and wide octave range tingled a million spines ...

— Mark Ribowsky; He's a Rebel, E.P. Dutton, 1989; page 192

Examples of the technique[link]

By Phil Spector[link]

The Wall of Sound forms the foundation of Phil Spector's recordings, in general. However, certain records are considered to have epitomized its use. "Be My Baby", a 1963 hit song for The Ronettes, written by Jeff Barry and Ellie Greenwich and produced by Spector, is widely regarded as one of the finest pop tunes of all time; it is considered by some to be the quintessential Phil Spector production.^[6] The Ronettes' version of "Sleigh Ride" used the effect heavily. Another prominent example of the Wall of Sound was "Da Doo Ron Ron" by The Crystals.

Spector himself is quoted as believing his production of Ike and Tina Turner's "River Deep, Mountain High" to be the summit of his Wall of Sound productions ^[7], and this sentiment has been echoed by both George Harrison ^[8] (who called it "a perfect record from start to finish."^{[citation needed]}) and Brian Wilson ^[9].

Perhaps Phil Spector's most infamous use of his production techniques was on the Let It Be album. Spector was brought in to salvage the incomplete Let It Be, an album practically abandoned by The Beatles, performances from which had already appeared in several bootleg versions when the sessions were still referred to as Get Back. His work resulted in the legitimately released album being what the LP cover called "the freshness of a live performance, reproduced for disc by Phil Spector." "The Long and Winding Road", "I Me Mine", and "Across the Universe" are often singled out as those tracks receiving the greatest amount of post-production work. The modified treatment (often misrepresented as a "Wall of Sound," although neither Spector nor the Beatles used this phrase to refer to the production) and other overdubs proved controversial among fans and The Beatles themselves. Eventually, in 2003, Let It Be... Naked was released, an authorized version without Spector's additions.

Leonard Cohen's album Death of a Ladies' Man from 1977 was produced by Spector, and the Wall of Sound technique is evident on the album as a whole, but may be most pronounced in both the title track and "Memories".

By other musicians and producers[link]

Outside of Spector's own songs, the most recognizable example of the "Wall of Sound" is heard on many classic hits recorded by The Beach Boys (e.g., "God Only Knows", "Wouldn't It Be Nice" — and especially, the psychedelic "pocket symphony" of "Good Vibrations"), for which Brian Wilson used a similar recording technique, especially during the Pet Sounds and Smile eras of the band.^{[citation needed]}

Johnny Franz's mid-1960s productions for Dusty Springfield and The Walker Brothers also employed a layered, symphonic "Wall of Sound" arrangement-and-recording style, heavily influenced by the Spector sound.^{[citation needed]} Harry Nilsson's hit "Everybody's Talkin'", which became the theme song for Midnight Cowboy, similarly used "Wall of Sound"-style production techniques.^{[citation needed]}

Queen used the technique in a number of their early-to-mid 1970s songs such as "Funny How Love Is",^[10] "Flick Of The Wrist", and the band's biggest UK hit "Bohemian Rhapsody".^[11]

Swedish pop group ABBA used similar techniques in their early songs, including "Ring Ring", "Waterloo", and "Dancing Queen".^{[citation needed]}

Roy Wood, another 1970s artist, utilized and arguably, expanded the "Wall of Sound" approach, particularly in his band Wizzard, who would multi-track saxophones, pianos and drums to create a huge sound. Notable examples include "Angel Fingers" and "I Wish It Could Be Christmas Everyday".^{[citation needed]}

Bruce Springsteen and the E Street Band's landmark 1975 Born to Run album — which includes more than thirty guitar tracks — is perhaps the most extensive and faithful updating of Spector's early-1960s "Wall of Sound" production style.^{[citation needed]}

"You Took the Words Right Out of My Mouth", from Meat Loaf's 1977 Bat Out of Hell album is another example of the Wall of Sound technique. Jim Steinman and Todd Rundgren were inspired by Phil Spector's methods. Todd Rundgren even goes through the motions of adding elements during mixing to the wall in the Classic Albums episode "Bat Out of Hell".^{[citation needed]}

In the 1980s, Trevor Horn's hugely popular productions for ABC's The Lexicon of Love, Yes' 90125, Frankie Goes to Hollywood's Welcome to the Pleasuredome, and Grace Jones' Slave to the Rhythm are decidedly slicker and more sophisticated examples of the opulent "Wall of Sound" approach in British New Wave/Hi-NRG dance music — all of these recordings utilize a large string orchestra and dozens of synthesizer and guitar overdubs with featured sound effects and treatments.^{[citation needed]}

The Los Angeles-based New Wave band Wall of Voodoo offered their own quirky, ominous interpretation of the "Wall of Sound" (the band's name is itself a take-off on the phrase) with their 1982 album Call of the West (produced by Richard Mazda), and its hit single "Mexican Radio".^{[citation needed]}

Canadian Metal musician Devin Townsend is well known for his extensive use of this technique in his works, employing gratuitous use of delays and reverb on the guitar, keyboard and vocal tracks, while at the same time overlaying multiple takes for a rich, full sound and atmosphere. Townsend uses these techniques on the making of Strapping Young Lad's Alien album.^{[citation needed]}

Marillion's song "Beyond You", from their 1995 album Afraid of Sunlight is reminiscent of Phil Spector's Wall of Sound productions, and is recorded monaurally, rather than in stereo.^{[citation needed]}

Other recent examples of the wall of sound technique include Glasvegas and Bernard Butler (in his work with such acts as McAlmont and Butler, The Tears and Duffy, with such songs as "Yes", "Apollo 13", "Rockferry", and 'Distant Dreamer'). The Super Furry Animals song "Run-Away" was heavily influenced by the technique.^{[citation needed]}

The musical style of American Heavy Metal band Slipknot is often described as a 'Wall of Sound'.^{[citation needed]} This is due to the band's extensive line-up; including samples, turntables and two additional percussionists, who also provide backing vocals, alongside the traditional vocalist, drums, bass and twin guitars used by most other bands of the genre. The parts are often very technical and played simultaneously so as to create an incredibly complex and full sound which assaults the senses.

Other references[link]

The term "wall of sound" first appeared in print in the New York Times on 22 June 1884, in a description of Richard Wagner's redesigned Nibelungen Theater in Bayreuth, Germany, which placed the orchestra (for the first time, it seems) in a deep orchestra pit out of sight of the audience. (Previously, the orchestra had been placed in front of the stage, at the same level as the audience and in plain view).

"The mere sinking of the orchestra is, however, not the only innovation. Wagner leaves there, a space of eighteen feet wide, and extending the entire breadth of the stage (not merely of the proscenium) and extending up to the roof, perfectly free. He calls this the Mystic Space, because he intends that here the invisible 'wall of music,' proceeding from the invisible orchestra, shall separate the real (that is the audience) from the ideal (the stage pictures.) If we may so express ourselves, the audience will perceive the scenes through an invisible wall of sound."

The term became popularly used around 1955 to describe sound of the jazz orchestra led by Stan Kenton, with its booming trombone, trumpet and percussion sections.

The term "Wall of Sound" was also used to describe the enormous public address system designed by Owsley Stanley specifically for the Grateful Dead's live performances circa 1974. The Wall of Sound fulfilled the band's desire for a distortion-free sound system that could also serve as its own monitoring system. Raymond Scott nicknamed the vast array of homemade sequencers and synthesizers that took up a wall of his studio the "wall of sound."^{[citation needed]}

Bernie Taupin refers to the term explicitly in the Elton John hit song Bennie and the Jets in the line "We're gonna hear electric music/Solid walls of sound." It is unclear if this reference is for the term itself or just a line he conjured, but the context would support the former.^{[original research?]}

Shoegazing[link]

Shoegazing, a style of alternative rock, is influenced by "Wall of Sound". Shoegazing emerged from the United Kingdom in the early 90s and lasted until the mid 1990s, peaking circa 1990 to 1993. Common musical elements in shoegazing are distortion, delay, and chorus effects, droning riffs and a "wall of sound" from noisy guitars. Typically, two distorted rhythm guitars are played together to give an amorphous quality to the sound. Although lead guitar riffs were often present, they were not the central focus of most shoegazing songs.

Vocals are typically subdued in volume and tone, but underneath the layers of guitars is generally a strong sense of melody. While the genres which influenced shoegazing often used drum machines, shoegazing more often features live drumming. Chapterhouse and Seefeel utilised both samples and live drumming. Jesus and Mary Chain and Cocteau Twins are often regarded perhaps the initial exponents of the style, appearing at the beginning of the 1980s and continuing into the style's heyday a decade later. The Jesus and Mary Chain's debut album Psychocandy is widely hailed as a landmark.^[12] My Bloody Valentine's 1991 album Loveless is perhaps the best-known example of meticulous Wall of Sound-influenced production in the shoegaze genre; featuring heavy processing on vocals and guitars, it is tipped to have cost £250,000 to produce over a 3-year period.^[13]

See also[link]

• Loudness war

References[link]

Bibliography and lectures[link]

• Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0-335-15275-9.
• Williams, Richard (1974/2003). Phil Spector: Out Of His Head. Abacus. ISBN 0-7119-9864-7. Cited in Middleton (1990).
• Rocher, Yann, lecture "Walls of sound. Construction and destruction by saturation", Ecole Nationale Supérieure d'Architecture Paris-Malaquais, march 2010 : http://www.cdmc.asso.fr/fr/ressources/conferences/enregistrements/murs_son_construction_destruction_saturation_yann_rocher

Quincy Jones
Quincy Jones attending an after-party of a tribute to his work at Life Restaurant, Los Angeles, CA on October 1, 2008
Background information
Birth name	Quincy Delightt Jones, Jr.
Also known as	Leigh Warren
Born	(1933-03-14) March 14, 1933 (age 79) Chicago, Illinois, United States
Genres	Rhythm and blues, funk, soul, big band, swing, bossa nova, jazz, hip hop, rock and roll
Occupations	Musician, conductor, producer, arranger, composer, film composer
Instruments	Trumpet, French horn, drums, vocals, piano synthesizer
Years active	1951–present
Labels	Columbia, Mercury, Qwest
Associated acts	Lionel Hampton, Dizzy Gillespie, Toots Thielemans, Sarah Vaughn, Aaliyah,[1] Michael Jackson, Rod Temperton, The Brothers Johnson, Frank Sinatra, Eddie Van Halen, Dinah Washington, Dean Martin, 2Pac, Patti Austin, Tevin Campbell, Marvin Gaye, Stevie Wonder, Will Smith, Trey Songz
Website	quincyjones.com

Jones in 2004 at the World Economic Forum in Davos

Quincy Delight Jones, Jr. (born March 14, 1933) is an American record producer, conductor, arranger, film composer, television producer, and trumpeter. His career spans five decades in the entertainment industry and a record 79 Grammy Award nominations,^[2] 27 Grammys,^[2] including a Grammy Legend Award in 1991. He is particularly recognized as the producer of the album Thriller, by pop icon Michael Jackson, which has sold more than 110 million copies worldwide,^[3] and as the producer and conductor of the charity song “We Are the World”.

In 1968, Jones and his songwriting partner Bob Russell became the first African Americans to be nominated for an Academy Award for Best Original Song "The Eyes of Love" from the Universal Pictures film Banning. That same year, he became the first African American to be nominated twice within the same year when he was nominated for Best Original Score for his work on the music of the 1967 film In Cold Blood. In 1971, Jones would receive the honor of becoming the first African American to be named musical director/conductor of the Academy Awards ceremony. He was the first African American to win the Academy's Jean Hersholt Humanitarian Award, in 1995. He is tied with sound designer Willie D. Burton as the most Oscar-nominated African American, each of them having seven nominations. At the 2008 BET Awards, Quincy Jones was presented with the Humanitarian Award. He was played by Larenz Tate in the 2004 biopic about Ray Charles, Ray.

Early life[link]

Jones was born in Chicago, the oldest son of Sarah Frances (née Wells), an apartment complex manager and bank executive who suffered from schizophrenia, and Quincy Delight Jones, Sr., a semi-professional baseball player and carpenter.^[4] He sometimes ate rat as a child^[5][6] Jones discovered music in grade school at Raymond Elementary School on Chicago's South Side and took up the trumpet. When he was 10, his family moved to Bremerton, Washington and he attended Seattle's Garfield High School. It was in Seattle that Jones, 14, first met a 17-year-old Ray Charles^[7] and developed musically under the tutelage of Robert Blackwell.

His brother, Richard Jones, is a federal district court judge in Seattle, and has presided over several very high-profile cases, including the notorious Green River Killer Gary Ridgway. ^[8]

In 1951, Jones won a scholarship to the Schillinger House (now Berklee College of Music) in Boston, Massachusetts. However, he abandoned his studies when he received an offer to tour as a trumpeter with the bandleader Lionel Hampton. While Jones was on the road with Hampton, he displayed a gift for arranging songs. Jones relocated to New York City, where he received a number of freelance commissions arranging songs for artists like Sarah Vaughan, Dinah Washington, Count Basie, Duke Ellington, Gene Krupa, and his close friend Ray Charles.

Musical career[link]

In 1956, Jones toured again as a trumpeter and musical director of the Dizzy Gillespie Band on a tour of the Middle East and South America sponsored by the United States Information Agency. Upon his return to the United States, Jones got a contract from ABC-Paramount Records and commenced his recording career as the leader of his own band.

In 1957, Quincy settled in Paris where he studied composition and theory with Nadia Boulanger and Olivier Messiaen. He also performed at the Paris Olympia. Jones became music director at Barclay Disques, the French distributor for Mercury Records.

During the 1950s, Jones successfully toured throughout Europe with a number of jazz orchestras. As musical director of Harold Arlen's jazz musical Free and Easy, Quincy Jones took to the road again. A European tour closed in Paris in February 1960. With musicians from the Arlen show, Jones formed his own big band, called The Jones Boys, with 18 artists—plus their families—in tow. The band included jazz greats Eddie Jones and fellow trumpeter Reunald Jones, and organized a tour of North America and Europe. Though the European and American concerts met enthusiastic audiences and sparkling reviews, concert earnings could not support a band of this size, and poor budget planning made it an economic disaster; the band dissolved and the fallout left Jones in a financial crisis. Quoted in Musician magazine, Jones said about his ordeal, "We had the best jazz band in the planet, and yet we were literally starving. That's when I discovered that there was music, and there was the music business. If I were to survive, I would have to learn the difference between the two." Irving Green, head of Mercury Records, got Jones back on his feet with a personal loan and a new job as the musical director of the company's New York division, where he worked with Doug Moody, who would later go on to form Mystic Records.

His 1960s breakthrough and rise to prominence[link]

In 1964, Jones was promoted to vice-president of the company, thus becoming the first African American to hold such an executive position in a white-owned record company.^[9] In that same year, Quincy Jones turned his attention to another musical arena that had long been closed to blacks—the world of film scores. At the invitation of director Sidney Lumet, he composed the music for The Pawnbroker. It was the first of his 33 major motion picture scores.

Following the success of The Pawnbroker, Jones left Mercury Records and moved to Los Angeles. After his score for The Slender Thread, starring Sidney Poitier, he was in constant demand as a composer. His film credits in the next five years included Walk, Don't Run, In Cold Blood, In the Heat of the Night, A Dandy in Aspic, Mackenna's Gold, The Italian Job, Bob & Carol & Ted & Alice, The Lost Man, Cactus Flower, and The Getaway. In addition, he also composed "The Streetbeater," which became familiar as the theme music for the television sitcom Sanford and Son, starring close friend Redd Foxx.

In the 1960s, Jones worked as an arranger for some of the most important artists of the era, including Billy Eckstine, Sarah Vaughn, Frank Sinatra, Ella Fitzgerald, Peggy Lee, and Dinah Washington. Jones's solo recordings also garnered acclaim, including Walking in Space, Gula Matari, Smackwater Jack, You've Got It Bad, Girl, Body Heat, Mellow Madness, and I Heard That!!.

He is well known for his 1962 tune "Soul Bossa Nova", which originated on the Big Band Bossa Nova album. "Soul Bossa Nova" was a theme for the 1998 World Cup, the Canadian game show Definition, the Woody Allen film Take the Money and Run and the Mike Myers movie Austin Powers in Goldmember, and was sampled by Canadian hip hop group Dream Warriors for their song, "My Definition of a Boombastic Jazz Style".

Jones was also responsible for producing all four million-selling singles for Lesley Gore during the early and mid-sixties, including "It's My Party" (UK #8; US #1), "Judy's Turn To Cry" (US #5), "She's A Fool" (also a US #5) in 1963, and "You Don't Own Me" (US #2 for four weeks in 1964). He continued to produce for Lesley until 1966, including the Greenwich/ Barry hit "Look of Love" (US #27) in 1965.

Jones's 1981 album The Dude yielded multiple hit singles, including "Ai No Corrida" (a remake of a song by Chaz Jankel), "Just Once" and "One Hundred Ways", the latter two featuring James Ingram on lead vocals and marking Ingram's first hits.

In 1985, Jones scored the Steven Spielberg film adaptation of The Color Purple. He and Jerry Goldsmith (from Twilight Zone: The Movie) are the only composers besides John Williams to have scored a Spielberg theatrical film. After the 1985 American Music Awards ceremony, Jones used his influence to draw most of the major American recording artists of the day into a studio to record the song "We Are the World" to raise money for the victims of Ethiopia's famine. When people marveled at his ability to make the collaboration work, Jones explained that he'd taped a simple sign on the entrance: "Check Your Ego At The Door".

Starting in the late 1970s, Jones tried to convince Miles Davis to re-perform the music he had played on several classic albums that had been arranged by Gil Evans in the 1960s. Davis had always refused, citing a desire not to revisit the past. In 1991, Davis, then suffering from pneumonia, relented and agreed to perform the music at a concert at the Montreux Jazz Festival. The resulting album from the recording, Miles & Quincy Live at Montreux, was Davis' last released album (he died several months afterward) and is considered an artistic triumph.^[10]

In 1993, Jones collaborated with David Salzman to produce the concert extravaganza An American Reunion, a celebration of Bill Clinton's inauguration as president of the United States. In 1994, Salzman and Jones formed the company Quincy Jones/David Salzman Entertainment (QDE) with Time/Warner Inc. QDE is a diverse company which produces media technology, motion pictures, television programs (In the House, The Fresh Prince of Bel-Air, and MADtv), and magazines (Vibe and Spin).

In 2001, he published his autobiography, Q: The Autobiography of Quincy Jones. On July 31, 2007, Jones partnered with Wizzard Media to launch the Quincy Jones Video Podcast.^[11] In each episode, Jones shares his knowledge and experience in the music industry. The first episode features Jones in the studio, producing "I Knew I Loved you" for Celine Dion, which is featured on the Ennio Morricone tribute album, We All Love Ennio Morricone. Jones is also noted for helping produce Anita Hall's CD, Send Love, which was released in 2009.

Work with Michael Jackson[link]

While working on the film The Wiz, Michael Jackson asked Jones to recommend some producers for Jackson's upcoming solo record. Jones offered some names, but eventually asked Jackson if he would like for him to produce the record. Jackson replied that he would, and the result, Off The Wall, has sold approximately 20 million copies and made Jones the most powerful record producer in the industry. Jones's and Jackson's next collaboration Thriller has sold a reputed 110 million copies and has become the highest-selling album of all time.^[12] Jones also worked on Michael Jackson's album Bad, which has sold 45 million copies. Bad was the last time the pair would work together in the studio, although an audio interview with Jones features on the 2001 special editions of 'Off The Wall, Thriller and Bad.

In a 2002 interview, when Jackson was asked if he would ever work with Jones again he replied, "The door is always open".^{[citation needed]} However, in 2007, when NME.COM asked Jones a similar question, he said "Man, please! We already did that. I have talked to him about working with him again but I've got too much to do. I've got 900 products, I'm 74 years old."^[13]

Following Jackson's death on June 25, 2009, Jones said:

Work with Frank Sinatra[link]

Jones first worked with Frank Sinatra when he was invited by Princess Grace to arrange a benefit concert at the Monaco Sporting Club in 1958.^[15] Six years later, Sinatra hired him to arrange and conduct Sinatra's second album with Count Basie, It Might as Well Be Swing (1964). Jones conducted and arranged 1966's live album with the Basie Band, Sinatra at the Sands.^[16] Jones was also the arranger/conductor when Sinatra, Sammy Davis, Jr., Dean Martin, and Johnny Carson performed with the Basie orchestra in St. Louis, Missouri, in a benefit for Dismas House in June 1965. The fund-raiser was broadcast to a number of other theaters around the country and eventually released on DVD.^[17] Later that year, Jones was also the arranger/conductor when Sinatra and Basie appeared on The Hollywood Palace TV show on October 16, 1965.^[18] Nineteen years later, Sinatra and Jones teamed up for 1984's L.A. Is My Lady, after a joint Sinatra-Lena Horne project was abandoned.^[19]

Brazilian culture[link]

Jones is a great admirer of Brazilian culture and a film on Brazil's Carnival is among his recent plans: "one of the most spectacular spiritual events on the planet";^[20] Simone, whom he cites as "one of the world´s greatest singers",^[21] Ivan Lins,^[22] Milton Nascimento and Gilson Peranzzetta, "one of the five biggest arrangement producers of the world"^[23] stand as close friends and partners in his recent works.

Media appearances[link]

Jones had a brief appearance in the 1990 video for The Time song "Jerk Out". Jones was a guest star on an episode of The Boondocks in which he and the main character, Huey Freeman, co-produced a Christmas play for Huey's elementary school. He appeared with Ray Charles in the music video of their song 'One Mint Julep' and also with Ray Charles and Chaka Khan in the music video of their song "I'll Be Good to You".

Quincy Jones hosted an episode of the long-running NBC sketch comedy show Saturday Night Live on February 10, 1990 (during SNL's 15th season [the 1989–1990 season]). The episode was notable for having 10 musical guests^[24] (the most any SNL episode has ever had in its 30-plus years on the air): Tevin Campbell, Andrae Crouch, Sandra Crouch, rappers Kool Moe Dee and Big Daddy Kane, Melle Mel, Quincy D III, Siedah Garrett, Al Jarreau, and Take 6, and for a performance of Dizzy Gillespie's "Manteca" by The SNL Band (conducted by Quincy Jones himself).^[24] Jones also impersonated Marion Barry in the then-recurring sketch, "The Bob Waltman Special". Quincy Jones would later be producer for his own sketch comedy show, FOX's MADtv.

Jones appeared in the Walt Disney Pictures film Fantasia 2000, introducing the set piece of George Gershwin's Rhapsody in Blue. Two years later he made a cameo appearance as himself in the film Austin Powers in Goldmember.

Jones during NASA's 50th anniversary gala, 2008.

On February 10, 2008, Jones presented at the Grammy Awards. With Usher he presented Album of The Year to Herbie Hancock.

On January 6, 2009, Quincy Jones appeared on NBC's Last Call with Carson Daly to discuss various experiences within his prolific career. Also discussed was the informal notion of Jones becoming the first minister of culture for the United States — following the pending inauguration of the 44th U.S. President, Barack Obama. Carson Daly indicated the U.S. as being one of the only leading world countries, along with Germany, to exclude this position from the national government. This idea has also been subject to more in-depth discussion on NPR^[25] and the Chronicle of Higher Education.^[26]

On December 12, 2009, Jones performed at a private reception for USAA employees at the Alamo Dome, in San Antonio, TX.

On February 5, 2011 Quincy Jones appeared on CBS's Late night show with David Letterman.

Awards and recognition[link]

Discography[link]

Personal life[link]

Jones in December 2010

Jones has been married three times and has seven children:

• to Jeri Caldwell from 1957 to 1966; they had one daughter, Jolie Jones Levine.
• to Ulla Andersson from 1967 to 1974; they had two children, Martina Jones and son Quincy Jones III;
• to actress Peggy Lipton from 1974 to 1990; they had two daughters, actresses Kidada Jones and Rashida Jones.
• Jones also had a brief affair with Carol Reynolds and they had a daughter, Rachel Jones.
• Jones dated and lived with actress Nastassja Kinski from 1991 until 1995. In February 1993, their daughter Kenya Julia Miambi Sarah Jones was born.^[27]

For the 2006 PBS television program African American Lives, Jones had his DNA tested; the results found that through his patrilineal line (Y DNA), he is of European ancestry, and through his matrilineal line (mt DNA) he is of West African/Central African ancestry of Tikar descent.^[28] In a BBC interview, Jones said he had discovered that his father was half Welsh.^[29] The series revealed that Jones' family hails from an area in Cameroon known for its music. On hearing the information, Jones said: "I would have never guessed." On his mother's side, Jones is a descendant of Betty Washington Lewis, president George Washington's sister.^[30]

Jones has never learned to drive, citing an accident in which he was a passenger (at age 14) as the reason.^[31]

Social activism[link]

Jones's social activism began in the 1960s with his support of Dr. Martin Luther King Jr. Jones is one of the founders of the Institute for Black American Music (IBAM), whose events aim to raise enough funds for the creation of a national library of African American art and music. Jones is also one of the founders of the Black Arts Festival in his hometown of Chicago. In the 1970s Jones formed The Quincy Jones Workshops. Meeting at the Los Angeles Landmark Variety Arts Center, the workshops educated and honed the skills of inner city youth in musicianship, acting and songwriting. Among its Alumni were Alton Mc Clain who had a hit song with Alton Mc Clain and Destiny, and Mark Wilkins who co-wrote the hit song "Havin' A Love Attack" with Mandrill and went on to become the National Promotion Director for Punk / Thrash record label Mystic Records. For many years, he has worked closely with Bono of U2 on a number of philanthropic endeavors. He is the founder of the Quincy Jones Listen Up Foundation, a nonprofit that connects youths with technology, education, culture and music. One of the organization's programs is an intercultural exchange between underprivileged youths from Los Angeles and South Africa.

In 2004, Jones helped launch the We Are the Future (WAF) project, which gives children in poor and conflict-ridden areas a chance to live their childhoods and develop a sense of hope. The program is the result of a strategic partnership between the Glocal Forum, the Quincy Jones Listen Up Foundation and Hani Masri, with the support of the World Bank, UN agencies and major companies. The project was launched with a concert in Rome, Italy, in front of an audience of half a million people.

Jones supports a number of other charities including the NAACP, GLAAD, Peace Games, AmfAR and The Maybach Foundation.^[32] Jones serves on the Advisory Board of HealthCorps. On July 26, 2007, he announced his endorsement of Hillary Clinton for president. But with the election of Barack Obama, Quincy Jones said that his next conversation "with President Obama [will be] to beg for a secretary of arts,"^[33] prompting the circulation of a petition on the Internet asking Obama to create such a Cabinet-level position in his administration.^[34][35]

In 2001, he became an honorary member of the Board of Directors of The Jazz Foundation of America. Jones worked with The Jazz Foundation of America^[36] to save the homes and the lives of America's elderly jazz and blues musicians including those who survived Hurricane Katrina.

Jones and his friend John Sie, founder of Starz Entertainment, worked together to create the Global Down Syndrome Foundation, the founding of which was inspired by Sie’s granddaughter, Sophia, who has Down syndrome.^[37]

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Quincy Jones

Wikimedia Commons has media related to: Quincy Jones

• Official Quincy Jones Website
• Quincy Jones Discography at iMusic.am
• Archive of American Television interview
• Mix Interview: Quincy Jones
• American Masters - Quincy Jones: The Story of an American Musician
• Quincy Jones at the Internet Movie Database
• Association for Computing Machinery Video Interview with Quincy Jones
• Quincy Jones speech on the importance of Cultural Diplomacy throughout the world, Beijing, China, May 26, 2006
• Quincy Jones's oral history video excerpts at The National Visionary Leadership Project
• Video clip of Quincy Jones's speech on education at the American Film Institute for the 2006 ACM Computers in Entertainment Scholarship Awards (November 4, 2006)

Armin van Buuren
Van Buuren performing on Queensday in Amsterdam, 2011
Background information
Birth name	Armin van Buuren
Also known as	Gaia, AVB
Born	(1976-12-25) 25 December 1976 (age 35) Leiden, South Holland, Netherlands[1]
Origin	Koudekerk aan den Rijn, South Holland, Netherlands
Genres	Trance Progressive Trance Uplifting Trance Neo-trance
Occupations	Remixer, Producer, DJ, Composer, Musician, Pianist, Songwriter
Instruments	Synthesizer, drum machine, equalizer, personal computer
Years active	1995–present
Labels	Armada Music (2003–present), Vandit (Co-Joined), Ministry of Sound Australia
Associated acts	Alibi, Dark Matter, Electrix, Lilmotion, Major League, Monsieur Basculant, Red & White, Technology, Triple A, Wodka Wasters, Nadia Ali,[2] Christian Burns,[2] Ferry Corsten,[2] Adam Young,[2] BT,[2] Sophie Ellis-Bextor,[2] Guy Chambers[2]
Website	arminvanbuuren.com

Armin van Buuren (Dutch pronunciation: [ˈɑr.mɪn vɑn ˈby.rə(n)]), OON (born 25 December 1976 in Leiden, Netherlands)^[1] is a Dutch trance producer and DJ. Between 2007 and 2010, he was voted number one in DJ Magazine's annual top 100 list of the most popular DJs.^[1] In the 2011 list, he ranked in second place. Since 2001, Van Buuren has hosted a weekly radio show called A State of Trance, which claims to have around 15 million weekly listeners in 26 countries,^[3] which would make it one of the most listened-to radio shows in the world. His 2008 studio album, Imagine, entered the Dutch album chart at #1, a first for a dance music artist in Dutch music history.^[4]

Personal life[link]

Armin van Buuren was born in Leiden, Netherlands on 25 December 1976,^[1] but grew up in Koudekerk aan den Rijn. Van Buuren started making music when he was 14.^{[citation needed]} He was inspired by French electronic music composer, Jean Michel Jarre, and wished to become a great electronic music composer like Jarre.^{[citation needed]}

He finished high school at the Stedelijk Gymnasium Leiden in 1995, and left for college to study law at Leiden University. While studying law, Van Buuren's interest for making music blossomed, and he began working as a DJ in a local club called Nexus. As his musical career began to take off, he put his law degree on hold, although he did return to finish law school in 2003.

On 18 September 2009, Van Buuren married Erika van Thiel in Wassenaar, Netherlands. They met during a vacation on Crete, and had been together for nine years prior to the marriage.^[5][6]

On 12 January 2011, Van Buuren announced the pregnancy of his wife Erika on Twitter.^[7] He hoped the baby, due that summer, would be his "best production ever."^[7] Their daughter, Fenna, was born on 24 July 2011.^[8]

Career[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2012)

1995–1999: Early career and success[link]

In 1995, Van Buuren had his first major success with a track called "Blue Fear", which was released under the Cyber Records label; he was 19 years old at the time. This track, which was produced in the "Euro Trance" mold, made it onto the UK Chart. Another successful track, "Communication" was released under the same label, and became popular in Ibiza, Spain in the summer of 1999. After being signed to AM PM Records, this track entered the UK Chart at No. 18 in 2000.

Armin van Buuren at Lizard Lounge, Dallas, Texas, 9 August 2008

Van Buuren began his DJ career at club Nexus in Leiden, where he learned to play long DJ sets, which were regularly six to seven hours per set.^[9] During school holidays he played more than four times a week. In 1999, he met Dave Lewis who introduced him as a DJ in England and the United States.^[9] His career accelerated, entering the DJ magazine Top-100 in November 2001 at Number 27.^[9] He has played in more than 25 different countries and can often be found on the main stage at big summer festivals. Van Buuren played a record-breaking twelve and a half hour set for Dancetheater in The Hague (the Netherlands).^[10][11] In the United Kingdom he performs regularly at Passion (resident 2002), Godskitchen, Gatecrasher, Slinky, Ministry of Sound, Peach and Golden.

In the beginning of 1999, Van Buuren started his label Armind together with United Recordings. The first release, Gig – "One," was well received. The second release "Touch Me," under the name Rising Star was signed to Ministry of Sound in the UK, before the record was released.

By the time of his third release, Gimmick – "Free" was signed to R&S Records, Van Buuren had managed to make his label popular very quickly. Under the surname Gaia he released "4 Elements" on Captivating Sounds, a sub-label of Warner Brothers. Teaming up with Tiësto, two new projects were born: Major League – "Wonder Where You Are?" was released on Black Hole Recordings and Alibi – "Eternity" was released on Armind. "Eternity" received club and chart success and was signed to Paul van Dyk's imprint Vandit Records. Another major collaboration followed this. Together with Ferry Corsten, Van Buuren recorded a riff-classic titled "Exhale" for the System F. album. Released as a single, this track reached gold status in less than a month.

[edit] 2000–2004: A State of Trance and 76

In 2000, Van Buuren started his own Armin van Buuren compilation series. He managed to find a balance between progressive house,and vocal trance music styles. His first compilation album, A State of Trance (not to be confused with his weekly A State of Trance radio shows), sold more than 10,000 copies and contains Van Buuren's well known remix of Moogwai, "Viola." His second album, Basic Instinct featured a new track: "Perpetuous Dreamer" – "The Sound of Goodbye." This track entered the Dutch charts in June 2001 at number 26. Later in the year, the track hit No. 1 on the Hot Dance Music/Club Play chart. The third album, In Motion was released 6 August 2001. This album contained the real trance sound and was very popular in the United States. A fourth album, Transparence, followed in 2002. In 2003, he worked with such artists such as DJ Seth Alan Fannin throughout a global tour on Dance Revolution in Europe, selling out to crowds of 20,000 people in Armin's home country of the Netherlands.

In March 2001, Van Buuren started his own radio show on ID&T Radio (traditionally broadcast in Dutch and later English since ASOT 183). In this weekly two-hour show, entitled A State of Trance, he plays the latest popular trance music tracks. His show and the artists he features are popularized by publishing the artists and track titles on his website. This radio-show/website combination has proven popular internationally. When ID&T Radio changed genres in 2004, Van Buuren left and took A State of Trance with him. The show then moved to Fresh FM, a Dutch radio station. It is now a weekly feature on SLAM!FM, another Dutch radio station, DI.FM, an online radio station, and on XM Satellite Radio, channel 80 in the United States and Canada. A complete list of stations that broadcast A State of Trance can be found at the ASOT section of Armin's website. Also in 2004, Van Buuren remixed the 24 theme song into a trance hit. In June 2005, the 200th episode was celebrated in Amsterdam and subsequently aired on radio. The 250th (eight hour) anniversary episode was celebrated in Club Asta in The Hague, Netherlands, featuring Van Buuren, Jonas Steur, M.I.K.E., John Askew, Rank 1 and Menno de Jong.^{[citation needed]}

In 2002, he had a residency at Glow in Washington D.C.,^[9] and he has played all across North America in San Francisco, Vancouver, Houston, Toronto, Boston, Calgary, Charlotte, Chicago, Montreal, Detroit, Edmonton, Atlanta, Austin, Denver, New York City, Los Angeles, St. Louis, Minneapolis, Seattle and at The Necto (nightclub). He has also regularly appeared at Amnesia on the island of Ibiza, Balearic Islands, Spain. In October that year, Van Buuren was voted Number 5 in the DJ Magazine 100 top DJ's. The following year, he jumped up to the No. 3 spot, and held 3rd place for the next three years. His work left him at the No. 2 spot, just below Paul van Dyk in the 2006 polls, and, in 2007, Armin reached #1, heading the 2007 DJ Mag Top 100. He was voted No. 1 again in 2008, 2009 and again in 2010.^{[citation needed]}

In June 2003, Van Buuren released his debut studio album, 76, a 76-minute album divided into 13 tracks.^[12]

Armin Van Buuren performing at Avalon, Boston, Massachusetts 2007

[edit] 2005–present: Shivers, Imagine and Mirage

On 8 August 2005, Van Buuren released his second studio album, Shivers. On the album Van Buuren worked with artists such as Pakistani-American singer Nadia Ali, English singer Justine Suissa and American trance duo Gabriel & Dresden.

On 11 November 2006, he had a live performance called Armin Only in Ahoy Rotterdam for the second time (after 12 November 2005) with a nine hour solo set, where he performed to over 11,000 fans.

In the summer of 2007, Van Buuren recorded and released a live set at Amnesia, Ibiza. Universal Religion Chapter 3, Live from Amnesia at Ibiza was released on 28 September 2007 as a mix compilation on Armada Records and in the US as "Universal Religion 2008" on Ultra Records on 4 December 2007.

On 17 April 2008, Van Buuren released his third studio album, Imagine. It features collaboration with singers such as Sharon den Adel of Within Temptation and Jacqueline Govaert of Krezip. The album debuted at number one on the Dutch Albums Chart. Since the release of Imagine, Van Buuren has been working with Benno de Goeij and DJ-RA of Rank 1 on solo productions and remixes.^{[citation needed]}

19 April 2008 saw the 3rd edition of Armin Only, this time in the Jaarbeurs in Utrecht, Netherlands. The event was attended by 16,000 fans and (partly) broadcast live on Dutch National TV. During the second half of 2008, Van Buuren took this show abroad, with visits to Australia, Romania, Poland, Belgium, and a special New Years Eve 2008 show at Together As One in Los Angeles, U.S.

On 29 September 2008, Armin won the DJ Award for "Best Trance DJ" at Ibiza along with other nominees, that of Tiësto, Ferry Corsten and Paul van Dyk.

On 12 January 2008, Van Buuren was given the "Buma Cultuur Pop Award," the most prestigious Dutch music award.

In 2009, Foreign Media Games announced the production of In The Mix: Featuring Armin van Buuren, a music game being produced in collaboration with Cloud 9 Music and Van Buuren's Armada Music label. The title is scheduled to be released sometime in 2010 exclusively for the Wii console.^[13]

He has collaborated with his brother, guitarist Eller van Buuren, in such venues as Together As One in Los Angeles, U.S., on New Year's Eve 2009, as well as on Armin's 2008 album Imagine.

On 3 March 2010, Van Buuren was awarded with the prestigious Golden Harp, for his musical work and contribution to Dutch music, by the music collecting society BUMA/STEMRA at the 2010 Buma Harpen Gala in Hilversum, the Netherlands.^[14][15]

On 23 June 2010, it was announced that Van Buuren's fourth studio album, Mirage was due to be released on 10 September.^[16] The first single "Full Focus", was released through iTunes Store on 24 June at midnight.^[17] The song peaked at number sixty in the Netherlands. One of the confirmed tracks from the album is a collaboration with English singer Sophie Ellis-Bextor called Not Giving Up On Love, which was released as a single from Bextor's fourth studio album, Make a Scene.^[18][19] Armin also wrote a song for English singer Seal, but due to the release of his greatest hits album, Hits, the collaboration never came together.^[20]

On 12 September 2010, Van Buuren launched "A State of Sundays", a new weekly 24-hour radio show aired on Sirius XM Radio ^[21]

On 20 October 2010, Van Buuren won the award for Most Popular International DJ presented by The Golden Gnomes.^[22]

On 27 October 2010, Van Buuren was announced, for the 4th year running, as the number 1 DJ, and thus prolonging his title as 'Most Popular DJ in the World'.^[23]

The 2010 edition of Armin Only: Mirage kicked off on 13 November 2010, in Utrecht, Netherlands, with more shows coming in Saint-Petersburg, Kiev, Buenos Aires, Melbourne, Beirut, Poznań, Moscow and Bratislava .^[24]

On 27 November 2010, Van Buuren made his third appearance in Shanghai, China.

On 2 February 2012, Van Buuren mentioned a new studio album in the works on episode #546 of his radio show, "A State Of Trance".

A State of Trance 500 (ASOT 500)[link]

To mark the 10 year anniversary and 500th episode of his weekly radio show A State of Trance, Van Buuren performed at five shows across five continents over five consecutive weeks along with various artists.

The first show was held on 19 March 2011 in Johannesburg, South Africa at the MTN Expo Center. In addition to Armin, Blake Jarrell, Protoculture, Lange, Leon Bolier, and Jorn van Deynhoven were performers. Super8 & Tab were to be part of the South African show, however a flight cancellation caused them to be absent for the event. The event was attended by over 20,000 people.

Miami's show was performed at the Ultra Music Festival on 27 March, and part of the show were Marcus Schossow, Alex M.O.R.P.H., Cosmic Gate, Gareth Emery, Ferry Corsten, ATB, and Sander van Doorn.

Argentina held the third celebration of ASOT 500 in club G.E.B.A Buenos Aires, with Heatbeat, Jochen Miller, Dash Berlin, Markus Schulz, John O'Callaghan and W & W. It was the only of the five ASOT 500 celebrations that was held outdoors. Van Buuren recorded a live video with his cell phone and uploaded it to Twitter while playing his live set.

ASOT 500 was celebrated in the Netherlands in Den Bosch. Accompanied by more than 30 DJs from countries all over the world, the event was attended by over 30,000 people. DJs present included Markus Schulz, Gareth Emery, Above & Beyond, Paul Oakenfold and Sean Tyas. The event was radio broadcast live to over 30 countries.^{[25][dated info]}

The final show was held in Sydney, Australia on 16 April at Acer Arena in Olympic Park. It was a sold out event weeks before the night. Artists present included Shogun, tyDi, Menno de Jong, Aly & Fila, and Alex M.O.R.P.H. Van Buuren played for three hours.

A State of Trance 550 (ASOT 550)[link]

In March 2012, Van Buuren performed in six shows across three continents as part of ASOT 550. He began his tour on March 1 in London, continued on to Moscow on March 7, and to Kiev, Ukraine on March 10. Then, he traveled to the United States to host his show at the Beyond Wonderland festival in Southern California. A week later on March 25, he closed out Ultra Music Festival 2012 for the 5th edition. This was followed by the final show in the Brabanthallen of Den Bosch, the Netherlands.

A State of Trance sponsored a tent at the Electric Daisy Carnival at Met Life stadium in East Rutherford, New Jersey on May 19, 2012, which by all accounts could be considered an unofficial extension of ASOT 550. ^[26]

Discography[link]

• 76 (2003)
• Shivers (2005)
• Imagine (2008)
• Mirage (2010)

Year Mixes[link]

Van Buuren is well known for his annual "Year Mix" which incorporates clips and custom mashups from the year's most popular trance tracks. Each year-mix consists of about 85 individual releases, edited into a two hour mix which is released on double CD as well as aired on his weekly radio show at the end of each year. According to Van Buuren, each year-mix takes several months to make, including thousands of digital audio edits and hundreds of audio plugins.

References[link]

External links[link]

Wikimedia Commons has media related to: Armin van Buuren

• Official website
• Artist Page on ArmadaMusic.com
• Armin van Buuren on Myspace
• Armin van Buuren at Allmusic
• Armin van Buuren discography at Discogs
• Armin van Buuren discography at MusicBrainz
• Armin van Buuren at the Internet Movie Database
• Armin van Buuren's profile on Trancepedia
• Armada Music – the record label of Armin van Buuren
• Armin van Buuren – A State of Trance episodes
• *Flowd - artist channel on *Flowd network.

Devin Townsend
Devin Townsend performing at Tuska Metal Festival, Finland (July 2010).
Background information
Birth name	Devin Garret Townsend[1]
Born	(1972-05-05) May 5, 1972 (age 40) New Westminster, British Columbia, Canada
Genres	Extreme metal, thrash metal, industrial metal, death metal, grindcore, progressive metal, progressive rock, ambient
Occupations	Singer-songwriter, musician, producer
Instruments	Vocals, guitars, bass, keyboards, drum machine, sampler, banjo
Years active	1993–present
Associated acts	The Devin Townsend Band, The Devin Townsend Project, Strapping Young Lad, Steve Vai, Punky Brüster, IR8, Front Line Assembly, Grey Skies, Caustic Thought, Noisescapes, Ayreon, The Wildhearts, Bent Sea
Website	www.hevydevy.com
Notable instruments
Peavey, ESP, Fender, and Gibson

Devin Garret Townsend (born May 5, 1972) is a Canadian musician and record producer. He was the founder, songwriter, vocalist, and guitarist in extreme metal band Strapping Young Lad from 1994 to 2007 and has had an extensive career as a solo artist.

After performing in a number of metal bands in high school, Townsend was discovered by a record label in 1993 and was asked to perform lead vocals on Steve Vai's album Sex & Religion. After recording and touring with Vai, Townsend was discouraged by what he found in the music industry, and vented his anger on a solo album released under the pseudonym Strapping Young Lad. He soon assembled a band under the name, and released the critically acclaimed City in 1997. Since then, he has released three more studio albums with Strapping Young Lad, along with solo material released under his own independent record label, HevyDevy Records. Townsend's solo albums, a diverse mix of hard rock and progressive metal, have featured a varying lineup of supporting musicians. In 2002 he formed The Devin Townsend Band, a dedicated lineup which recorded and toured for two of his solo releases.

In 2007, Townsend disbanded both Strapping Young Lad and The Devin Townsend Band, taking a break from touring to spend more time with his family. After a two-year hiatus, he began work on a four-album series called The Devin Townsend Project, with each album written in a different style. The first two entries in the series, Ki and Addicted, were released in 2009. Townsend scheduled tours throughout Australia and North America in 2010 in support of the albums, and released the next two, Deconstruction and Ghost, in 2011.

Townsend's trademark production style, featuring a heavily multitracked wall of sound, has been compared to the styles of Phil Spector and Frank Zappa. His versatile vocal delivery ranges from screaming to an opera-esque singing, and his songwriting is similarly diverse. Townsend's musical style is rooted in metal, and his albums are written to express different aspects of his personality.

Biography[link]

Early musical career (1972–1994)[link]

Devin Townsend was born in New Westminster, British Columbia, on May 5, 1972.^[2] Townsend picked up the banjo when he was five, and began playing guitar when he was 12.^[3] He participated in several metal bands while he was in high school, and founded Grey Skies at the age of 19. Around the same time he joined a popular local group called Caustic Thought, replacing Jed Simon on guitar and playing alongside bassist Byron Stroud, both of whom would later become members of Townsend's flagship band, Strapping Young Lad.^[4] In 1993, Townsend began writing material under the name Noisescapes, a project he later described as "just as violent as Strapping Young Lad".^[5]

Townsend recorded a Noisescapes demo and sent copies to various record labels. Relativity Records responded to Townsend with a record deal and Townsend began work on what was to be the first Noisescapes album, Promise.^[6] Shortly afterward, the label introduced him to musician Steve Vai. Impressed with Townsend's vocal work, Vai offered him the role of the lead vocalist on his new album Sex and Religion. Townsend took the offer, unfamiliar with Vai's work and unaware of his acclaim in the music world. After recording Sex and Religion, Townsend accompanied Vai on a world tour in support of the album.^[6] Townsend soon landed a second touring gig, this time with the opening band of Vai's tour, The Wildhearts.^[7] He played live with the band throughout half of 1994 in Europe, and appeared as a guest musician on their single Urge. Ginger, the band's frontman, remained close friends with Townsend,^[8] later co-writing several songs on Infinity and the Christeen + 4 Demos EP.

While on tour with The Wildhearts, Townsend formed a short-lived thrash metal project with Metallica's then-bassist Jason Newsted. The band, known as IR8, featured Newsted on vocals and bass, Townsend on guitar, and Tom Hunting of Exodus on drums. The group recorded a few songs together, although Townsend says that they never intended to go further than that. "People heard about it and thought we wanted to put out a CD, which is absolutely not true," he explains. "People took this project way too seriously."^[5] A demo tape was put together, but the material was not released until 2002, when Newsted published the IR8 vs. Sexoturica compilation.

Though Townsend was proud of what he had accomplished so early in his career, he was discouraged by his experience with the music industry. "I was becoming a product of somebody else's imagination, and it was mixing with my own personality," he later reflected. "This combination was appalling."^[9] He pushed to get his own projects off the ground. Despite getting notable touring gigs with other musicians, however, Townsend continued to face rejection of his own music. Relativity Records dropped Noisescapes from their label shortly after Townsend accepted Vai's offer, seeing no commercial appeal in Townsend's music.^[10] "I have a hunch they only offered me a deal to get me to sing with Steve," he mused.^[5] While touring with The Wildhearts, Townsend received a phone call from an A&R representative for Roadrunner Records, expressing an interest in his demos and an intention to sign him. The offer was ultimately rescinded by the head of Roadrunner, who regarded Townsend's recordings as "just noise".^[11]

[edit] Heavy as a Really Heavy Thing through Infinity (1994–1998)

In 1994, Century Media Records offered Townsend a contract to make "some extreme albums".^[11] He agreed to a five-album deal with the record label^[12], and also provided much of the guitar work on the 1994 album Millennium and the 1995 album Hard Wired by Vancouver industrial band Front Line Assembly. Townsend began to record material under the pseudonym Strapping Young Lad. He avoided using his real name at this point in career, looking for a fresh start after his high-profile Vai gig. "At the beginning, I wanted to avoid at all cost to use my name because I was known as the singer for Steve Vai and it wasn't the best publicity to have," he later explained. "I was playing somebody else's music and I was judged in respect to that music."^[9] Townsend produced and performed nearly all the instruments on the debut studio album, Heavy as a Really Heavy Thing, which was released in April 1995.

Following the release of the record, Townsend and several other musician friends he knew in Vancouver recorded his first solo album in 1996 entitled Punky Brüster – Cooked on Phonics. Written and recorded in under a month, the album was produced as a parody of punk rock bands and documents the act of selling out for mainstream success. Townsend founded his own independent record label, HevyDevy Records, to release the album. Townsend assembled a permanent lineup of Strapping Young Lad to record City, including prolific metal drummer Gene Hoglan, along with Townsend's former bandmates Jed Simon on guitar and Byron Stroud on bass. The industrial-influenced^[13] album was released in 1997. To this day, the album is widely considered Strapping Young Lad's best work,^[14][15] with Metal Maniacs calling it "groundbreaking"^[16] and Revolver naming it "one of the greatest metal albums of all time".^[17] Townsend himself considers it the band's "ultimate" album.^[18] Later that year, Townsend released his second solo album, Ocean Machine: Biomech. The album featured a mix of hard rock, ambient, and progressive rock.^[16]

After the completion of City and Ocean Machine: Biomech, Townsend began to approach a mental breakdown. "I started to see human beings as little lonesome, water based, pink meat," he explained, "life forms pushing air through themselves and making noises that the other little pieces of meat seemed to understand." In 1997, he checked himself into a mental-health hospital, where he was diagnosed with bipolar disorder. The diagnosis helped him understand where the two sides of his music were coming from; he felt his disorder "gave birth to the two extremes that are Strapping's City record and Ocean Machine: Biomech."^[19] After being discharged from the hospital, Townsend found that "everything just clicked" and he was able to write his third solo album, Infinity, which he described as "the parent project" of City and Ocean Machine: Biomech,^[19] with music influenced by Broadway.^[16] Townsend returned to the studio, accompanied by Hoglan, to work on the album, on which Townsend played most of the instruments. Infinity was released in October 1998. Later in his career, Townsend has cited Infinity as his favorite solo record.^[13]

With Infinity, Townsend began to label all albums outside of Strapping Young Lad under his own name, dropping the Ocean Machine moniker, to reduce confusion. He wanted to show that despite the highly varied nature of his projects, they are all simply aspects of his identity.^[9] The album Biomech was relabeled and redistributed as Ocean Machine: Biomech, under Townsend's name, to reflect the new arrangement. Townsend's bandmates began to play two sets at their shows, one as Strapping Young Lad, and one as The Devin Townsend Band, playing songs from Townsend's solo albums.^[2]

[edit] Physicist and Terria (1999–2001)

Townsend performing at the Wâldrock Festival, Netherlands (June 30, 2001).

Townsend's next project took several years to come to fruition. After the creation of the IR8 demo tape, Townsend and Jason Newsted had begun work on a new project called Fizzicist, which they described as "heavier than Strapping Young Lad". When the IR8 tape was leaked, Newsted's Metallica bandmates James Hetfield and Lars Ulrich learned of the project. Hetfield was "fucking pissed" that Newsted was playing outside the band, and Newsted was prevented by his bandmates from working on any more side projects.^[20] With the project stalled, Townsend instead wrote the album himself, entitling it Physicist. Townsend assembled his Strapping Young Lad bandmates to record it, the only time this lineup was featured on a Devin Townsend album.^[2] The thrash-influenced^[16] Physicist was released in June 2000, and is generally considered a low point in Townsend's career. Hoglan and the rest of the band were dissatisfied with the way the sound was mixed,^[21] and Townsend considers it his worst album to date.^[22]

Feeling he had "ostracized a bunch of fans" with Physicist, Townsend felt he had the chance to make a more personal and honest record.^[13] Townsend was inspired one morning while driving across Canada with his band, and looked to write an "introspective" album dedicated to his homeland.^[23] He produced and recorded Terria, a "highly illustrated stream-of-consciousness" album,^[13] with Gene Hoglan on drums, Craig McFarland on bass and Jamie Meyer on keyboards. Townsend cited Ween's White Pepper as an inspiration for the album.^[13] Terria was released in November 2001.

[edit] Strapping Young Lad through Synchestra (2003–2006)

Townsend's solo run lasted until 2002. After a five-year break from recording, Strapping Young Lad reunited to record a new album. Townsend credits the album, Strapping Young Lad, as an emotional response to the attacks of September 11, 2001, in the United States. "If the world's about to blow up," said Townsend, "let's write the soundtrack for it."^[21] The album's lyrics were based more around fear and insecurity than the "hostile" lyrics of City.^[13] Musically, Strapping Young Lad was less industrial than City,^[24] and more reminiscent of death metal,^[25] with a "larger-than-life" rock production style.^[13] Townsend cited Front Line Assembly, Grotus, and Samael's Passage as influences.^[13] The self-titled album was released in February 2003. It received lukewarm reviews, with critics finding it inferior to City,^[26][27] but it was the band's first charting album, entering at 97th place on Billboard's Top Heatseekers chart.^[28]

Townsend filming the music video for "Zen" with Strapping Young Lad (2005).

While Strapping Young Lad was being reunited, Townsend formed a new, permanent band "on par with Strapping" to record and tour for his solo releases.^[13] The Devin Townsend Band consisted of Brian Waddell on guitar, Mike Young on bass, Ryan Van Poederooyen on drums, and Dave Young on keyboards. Townsend performed guitar, vocals, and production, as he did in Strapping Young Lad. Townsend worked on the band's first album, Accelerated Evolution, at the same time he was working on Strapping Young Lad, spending half the week on one and half on the other.^[29] Accelerated Evolution, named for the pace of putting a new band together in under a year,^[13] was released a month after Strapping Young Lad. Mike G. of Metal Maniacs called it "the album of the year", praising it for "the hard-to-accomplish trick of being extreme yet accessible, simultaneously heavy 'n' rockin' yet majestic and beautiful."^[16] Prior to the formation of The Devin Townsend Band, Townsend had represented his solo releases live with the Strapping Young Lad lineup; the band would play one set of Strapping Young Lad songs and one set of Devin Townsend songs.^[30] After the release of Accelerated Evolution, Townsend's two bands toured separately for their separate albums.^[2]

Strapping Young Lad began working on their next album, Alien, in March 2004.^[31] Feeling that the band's previous album did not live up to expectations, Townsend decided to take his music to a new extreme.^[32] To prepare for the new album, Townsend stopped taking the medication prescribed to treat his bipolar disorder.^[33] "I think that as an artist, in order for me to get to the next plateau, I kind of feel the need to explore things and sometimes that exploration leads you to places that are a little crazy," he explains. "And Alien was no exception with that."^[34] Although Townsend considered the album an "impenetrable mass of technicality",^[35] it was well received on its release, selling 3,697 copies in its first week^[36] and appearing on several Billboard charts.^[37]

Shortly thereafter Townsend began putting together the next Devin Townsend Band record, with the working title Human.^[38] Townsend intended the album as the more "pleasant" counterpart to Alien. "It's basically a record about coming back down to earth after being in space with Alien for a while."^[34] The album ended up being renamed Synchestra and was released in January 2006. Townsend showcased a wide variety of musical styles in Synchestra, blending his trademark "pop metal" with influences from folk, polka, and Middle Eastern music.^[39]

[edit] Ziltoid the Omniscient and hiatus (2006–2008)

Townsend's wife, Tracy Turner, gave birth to their first son, Reyner Liam Johnstan Townsend, on October 4, 2006.^[40] Around this time, Townsend withdrew from touring to spend time with his family. From home, Townsend completed his second solo ambient album, The Hummer, releasing it exclusively on his website in November 2006.

In May 2007, Townsend released Ziltoid the Omniscient, a tongue-in-cheek rock opera about the eponymous fictional alien. This was truly a solo album; he programmed the drums using Drumkit from Hell,^[41] a software drum machine that uses MIDI samples recorded by Tomas Haake of Meshuggah^[42] and played all other instruments himself. Shortly after the album's release, Townsend announced that he no longer planned to tour or make albums with Strapping Young Lad or The Devin Townsend Band. He explained that he was "burnt out on travelling, touring, and self promotion" and wished to do production work, write albums, and spend time with his family without the stress of interviews or touring.^[43]

In 2008, Townsend lent his voice to characters in several episodes of the Adult Swim cartoon Metalocalypse (see Musician cameos in Metalocalypse for more). The original character design for Pickles the Drummer, one of the series' main characters, bore a striking resemblance to Townsend. The series' co-creator Brendon Small acknowledged the similarity, and altered the design before the series began. "We made sure he didn't look like Devin Townsend. We gave him the goatee and the dreadover so he wouldn't look like that."^[44]

The Devin Townsend Project (2008–present)[link]

Devin Townsend performing with the Devin Townsend Project in Cleveland, Ohio (January 25th, 2010).

After removing himself from the music industry, Townsend cut his trademark hair off^[45] and gave up drinking and smoking.^[46] Townsend found it "disconcerting" that he had difficulty writing music without drugs, and that he had trouble identifying his purpose as a musician. He spent a year producing albums in absence of writing, but found it unrewarding and decided to "pick up the guitar and just write".^[45] This began a period of "self discovery"^[46] where he learned "how to create without drugs".^[47]

Over two years, Townsend wrote over 60 songs, and found that they fit into "four distinct styles".^[45] In March 2009, Townsend announced his plans for a four-album series called The Devin Townsend Project,^[47] with the goal of clarifying his musical identity and being "accountable" for the persona he projects to the public.^[45] The project's concept includes a different "theme" and a different group of musicians on each album.^[47]

Ki, the first album of The Devin Townsend Project, was written to "set the stage" for the subsequent albums.^[47] Townsend channeled his newfound control and sobriety into Ki, a "tense, quiet" album that contrasts with much of the music he had been known for.^[45] Ki was released in May 2009.^[48] The second entry, a "commercial, yet heavy" album called Addicted, was released in November 2009.

Townsend returned to the stage in January 2010, touring North America with headliner Between the Buried and Me as well as Cynic and Scale the Summit. This was followed by a headlining tour in Australia and a series of high-profile shows in Europe (for example co-headlining the Brutal Assault festival in Czech Republic). He headlined a North American tour with UK label mates TesseracT supporting, which began in October 2010, and toured in Europe with support from Aeon Zen and Anneke van Giersbergen.^[49]

The final albums in The Devin Townsend Project series, Deconstruction and Ghost, were released on June 21, 2011. Townsend performed all four of The Devin Townsend Project albums in the UK and recorded them for a DVD called By a Thread – Live in London 2011 that will be released in 2012. The first three shows were held at the University of London Union, November 10–12, 2011. Ki, Addicted, and Deconstruction were each performed on one night, respectively. The show for Ghost was held at the Union Chapel, Islington on November 13, 2011.^[50] These four shows were each entitled "An Evening with the Devin Townsend Project".^[51]

Since 2009, Townsend has discussed plans to expand the Ziltoid the Omniscient franchise. His ideas included a sequel album, a "full blown musical" with the title Z²,^[52] but the album appeared to have been scrapped, as Townsend stated in mid-June 2011, "I’m very rapidly realizing that humor and metal… it doesn’t really work." However, as of July 2011, he has stated on his Twitter account that the album was still in the works, but was "vying for pole-position" as he works on other projects.^[53] He has expressed possible plans to begin a series of online videos, a series titled ZTV, instead, in which a Ziltoid hand puppet conducts interviews with various bands.^[54] A graphic novel based on the Ziltoid character, and possibly performing the Ziltoid album as a staged musical, at least as a one-off, have also been considered.^[55]

Townsend has stated on his Twitter that he is working on a new album, entitled Epicloud. He described the album as "Big, heavy, romantic kind of melodic stuff. Pretty, ethereal and simple."^[56] Anneke Van Giersbergen will take part in the album. Townsend also announced on his Facebook that the album would be released under The Devin Townsend Project name. Townsend recently played bass on the debut Bent Sea album Noistalgia. He also produced the record.^[57]

As part of Australia's Soundwave Festival Devin announced on Soundwave TV that he will begin recording Epicloud in Perth Australia after the festival.^[58][59]

Musical style[link]

Projects[link]

Townsend (right) performing with Strapping Young Lad in Bologna, Italy (2006).

Townsend designed his two main projects, the aggressive Strapping Young Lad and his more melodic solo material, as counterparts.^[60] Strapping Young Lad's music was a diverse mix of extreme metal genres; death metal, thrash metal, black metal^[61] and industrial metal. Townsend's solo material blends many genres and influences,^[62] with elements of atmospheric ambient music,^[63] hard rock and progressive rock,^[16] along with pop metal and arena rock.^[62] Despite Strapping Young Lad's greater mainstream acceptance, Townsend identifies more with his solo material, and has never intended Strapping Young Lad to be the focus of his music.^[64]

Production style[link]

As a self-proclaimed "fan of multitracking",^[34] Townsend has developed a trademark production style featuring an atmospheric, layered "wall of sound".^[39] Townsend has drawn critical praise for his productions, which "are always marked by a sense of adventure, intrigue, chaotic atmospherics and overall aural pyrotechnics", according to Mike G. of Metal Maniacs.^[16] Townsend mainly uses Pro Tools to produce his music, alongside other software suites such as Steinberg Cubase, Ableton Live, and Logic Pro.^[34] Townsend's musical ideas and production style have drawn comparisons to Phil Spector^[39] and Frank Zappa.^[65] Townsend has carried out the mixing and mastering for most of his solo work himself. He has also mixed and remixed work for other artists such as Rammstein, August Burns Red and Misery Signals.

Playing style[link]

Townsend mainly uses Open C tuning for both six and seven string guitar. He now also uses Open B tuning and Open B flat tuning (Open C tuning tuned a half and a whole step down respectively) on his six string guitars. Townsend's technique varies from fingerpicking, power chords and polychords to sweep-picked arpeggios and tapping techniques. He is also known for his heavy use of reverb and delay effects. He has expressed that he has no taste for shred guitar, saying that "Musically it doesn't do anything for me" and that he only solos when he thinks that he can within the context of the song.^[66] Townsend himself has stated, "Yeah it's played on the...Fourth fret, E string, Eighth fret, A string...", and has remarked, "I have no idea what notes they are, I have people who do that".^{[citation needed]}

Townsend used ESP guitars from 1994 to 2009, when he switched to Peavey guitars. In 2011, Peavey introduced a Devin Townsend signature 7-string baritone guitar with an EMG 81-7 in the bridge position and a 7-string EMG SA in the neck position. Townsend is also known for his usage of the Fractal Audio AxeFX system.

Influences[link]

Townsend draws influence from a wide range of music genres, most prominently heavy metal. Townsend has cited, among others, Judas Priest, W.A.S.P., Frank Zappa, Broadway musicals, Abba, new age music, Zoviet France, King's X, Morbid Angel, Barkmarket, Grotus, Jane's Addiction, Metallica, Cop Shoot Cop and Fear Factory as his influences,^[67] and has also expressed his admiration for Meshuggah on several occasions, calling them "the best metal band on the planet".^[68] City was influenced by bands such as Foetus and Cop Shoot Cop,^[11] and The New Black's influences were Meshuggah, and "more traditional metal" like Metallica.^[22] He is also influenced by classical composers such as Igor Stravinsky.^{[citation needed]}