Music Genre Analysis part 2

Here is a list of the Equipment that was used in making the song Handbags And Gladrags and some of their other songs.

Bird and Bush’s unlimited access to Dreamhire’s stockroom has allowed them to become familiar with a bewildering array of top-flight processors, though naturally they have a few favourites which have found their way into their personal rack. “I was useful to Dreamhire because I knew the gear,” Steve explains, “but the only reason I knew it was because I took it out and used it every night until four o’clock in the morning. We ended up getting hold of a few things we liked a lot so that we could have access to them wherever we were.”• Line 6 Pod guitar processor.

Steve: “We bought this for doing guitar guides, but it’s such a wicked piece of gear that we’ll often end up using it as the master guitar take. However, a little dig at Line 6: make me a rackmount one! The only thing I want kidney-shaped is my kidneys, or swimming pool. I feel a little ridiculous turning up at the studio with a stupid red bean! But it does mean that most bands are at least interested enough to come up and turn the knobs, which we actively encourage. I think that the Pod is excellent for making a broad range of sounds instantly accessible. However, one serious problem is that the processing delay varies from patch to patch, so it’s difficult to mix it with the sound from a real amp because of the phase mismatch. You can adjust parameters to do with this using Sound Diver software on your computer, but try saying that to your average guitar player!”

• Roland SDE3000 digital sampler/delay.

Steve: “I still use my old SDE3000 because of its trigger mods, which most people have never heard of or seen, but which were once the be-all and end-all of drum triggering — Clearmountain carries two or three of them around in his rack permanently.”

• Boss SE70 multi-effects.

Marshall: “I think it’s supposed to be all the Boss footpedals in a rackmount box, but it’s not quite that. However, even though the editing’s limited, it’s great to just put it across something standard like a percussive instrument of some sort — you get some wild stuff.”

• Sherman Filterbank.
• BSS DPR04 dynamics processor.

Steve: “It’s a really fierce compressor, but I like that — when you turn the knob something really happens! If you use the main dynamics channel for de-essing it’s way better than many of the standard studio de-essers. There’s also a terminal strip at the back which allows access to a bunch of extra functions, but I never knew what it was for until one of the maintenance guys at Real World a few years ago wired me up a switch pot to switch between them all. You can do stuff like re-emphasising the low frequencies, because low frequencies have a habit of hitting the compressor first so the sound can end up being tipped treble-heavy. It’s great fun to be able to just dial in different settings by turning the knob, just to see what they can bring to a sound. It’s a good investment, I think, and it can be a bit of a saviour.”

• Avalon VT737SP recording channel.

Steve: “This was used for some of the bass sounds on the second Stereophonics album. You can tweak the tone of the bass guitar’s DI before you send it to the amp, which can help shape the sound reaching the cab.”

• Roland Space Chorus.

Steve: “Expert echo-manipulation can really make mixes come alive, but often echoes that are too squeaky clean just don’t serve the music and start to become distracting — an essy echo on a vocal suddenly draws your ear and you don’t want that. You want echoes providing tonal support, and that’s where tape comes into its own, making sounds more ear-friendly and familiar. For a similar reason I really like the sound of the Alesis Quadraverb for echoes — it sounds rounded and blends in with tracks.”

• Hughes & Kettner Tube Rotosphere.

Steve: “I was always looking for a good Leslie simulator, and this is the best one I’ve found. It’s a very distinctive sound and easy to overuse, but it’s great not having to carry a real one around for when you do need it, or having to bodge the one at the studio to work.”

• Roland JV2080 synth module.

Marshall: “This is brilliant to write with, it’s a workstation for me, even though it sounds a little bit thin like most Roland gear. I use it for classical presets as much as anything. I do find the user interface rather long-winded, though. The Japanese never seem to get it quite right. For example, I can jump on an Alesis drum module and work it in seconds, but I always find the architecture of Yamaha and Roland stuff confusing, not to mention the fact that the Roland manuals are always translated terribly. I found out that Akai got their software written in Britain, so that probably explains something of their reputation for user-friendly operation. I learnt sampling and programming on an S1000, but I hadn’t used one in years until recently, and I hadn’t forgotten a thing.”

• Kurzweil K2000 workstation synthesizer with sampling option.

Marshall: “This would have to be my favourite piece of gear. It has a good library with it, even if you take it without the sampling option. It may be an old piece of gear now, but it’s still a fantastic workstation. Whenever I sit down to do anything, I’ll go straight to that. I can’t be bothered with the sequencing in the K2000 though, because I much prefer the graphics-based environment in Logic, which is just amazing.”

• Gibson Les Paul guitar.
• Fender Stratocaster guitar.

Steve: “I try to split my equipment budget between keeping the technology side of things up-to-date and doing things which traditionally suit band recordings. I buy guitars and stuff like that all the time, because going to sessions where a guitar didn’t do its job has forced me to go out and buy decent guitars for producing. I prefer to go and buy a good guitar, rather than buy a compressor or whatever to fix it — better to go back to the source and get that right. We’re also about to get a Fender Telecaster and a Gibson SG, because we’ve learnt that you can only get those classic sounds out of the classic instruments — you can’t just plug any old thing through a Marshall and hope that it’ll be fixed.”

The song was released by Stereophonic on 3rd December 2001.

Here is a list of Tracks and what they where released on.

Track listing[edit]

CD 1[9]
No. Title Lyrics Length
1. “Handbags and Gladrags” d’Abo
2. First Time Ever I Saw Your Face Ewan MacColl
3. How? John Lennon
CD 2[10]
No. Title Lyrics Length
1. “Handbags and Gladrags” (Live acoustic version) d’Abo
2. “Caravan Holiday” (Live acoustic version) Kelly Jones
3. “Nice to be Out” (Live acoustic version) Jones
7″ vinyl[12]
No. Title Lyrics Length
1. “Handbags and Gladrags” d’Abo
2. “First Time Ever I Saw Your Face” MacColl
No. Title Lyrics Length
1. “Handbags and Gladrags” d’Abo
2. “First Time Ever I Saw Your Face” MacColl
3. “How?” Lennon
4. “Caravan Holiday” (Live acoustic version) Jones
5. “Nice to be Out” (Live acoustic version) Jones
No. Title Lyrics Length
1. “Handbags and Gladrags” d’Abo
2. “First Time Ever I Saw Your Face” MacColl



The original demo tape of the original version of the song was discovered in 2004 in a closet belonging to Mo Foster. It was amongst a collection of studio recordings d’Abo had recorded in the late 1960s and early 1970s. The collection, including the demo recording, was eventually released on the Angel Air label under the title of Missing Gems & Treasured Friends.[2]

In a 2003 interview with Britain’s The Sunday Express, D’Abo, who also co-wrote The Foundations’ classic “Build Me Up Buttercup,” explained that “Handbags and Gladrags” was meant to suggest that fashion and style weren’t everything, a message that certainly bucked the trend in youth culture at the time. “I knew it was a social comment,” he said. “The moral of the song is saying to a teenage girl that the way to happiness is not being trendy. There are deeper values.”

D’Abo’s lyrics imply that fashion’s fickle nature can leave anyone relying on it for their well-being in a world of hurt. “But once you think you’re in you’re out,” Stewart sings, “’Cause you don’t mean a single thing without/The handbags and the gladrags that your granddad had to sweat so you could buy.”

Stewart plays the role of caring friend throughout, finally urging the girl to get her priorities straight and leave behind the stylish trappings before it’s too late: “They told me you missed school today/So I suggest you just throw them all away.” Styles may change and trends may come and go, but it’s a safe bet that “Handbags and Gladrags,” as delicately authored by Mike D’Abo and powerfully sung by Rod Stewart, won’t ever go out of fashion.

The producers were Birds And Bush

A melody (from Greek μελῳδία, melōidía, “singing, chanting”),[1] also tune, voice, or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively, the term can include successions of other musical elements such as tonal color. It may be considered the foreground to the background accompaniment. A line or part need not be a foreground melody.

Melodies often consist of one or more musical phrases or motifs, and are usually repeated throughout a composition in various forms. Melodies may also be described by their melodic motion or the pitches or the intervals between pitches (predominantly conjunct or disjunct or with further restrictions), pitch range, tension and release, continuity and coherence,cadence, and shape.

A sound synthesizer (often abbreviated as “synthesizer” or “synth“, also spelled “synthesiser“) is an electronic musical instrument that generates electric signals converted to sound through loudspeakers or headphones. Synthesizers may either imitate other instruments or generate new timbres. They are often played with a keyboard, but they can be controlled via a variety of other input devices, including music sequencers, instrument controllers, fingerboards, guitar synthesizers,wind controllers, and electronic drums. Synthesizers without built-in controllers are often called sound modules, and are controlled via MIDI or CV/Gate.

Synthesizers use various methods to generate signal. Among the most popular waveform synthesis techniques aresubtractive synthesis, additive synthesis, wavetable synthesis, frequency modulation synthesis, phase distortion synthesis,physical modeling synthesis and sample-based synthesis. Other sound synthesis methods including subharmonic synthesisused on mixture trautonium, granular synthesis resulting Soundscape or Cloud, are rarely used (see #Types of synthesis).

The term musical form (or musical architecture) refers to the overall structure or plan of a piece of music,[1] and it describes the layout of a composition as divided into sections.[2] In the tenth edition of The Oxford Companion to Music,Percy Scholes defines musical form as “a series of strategies designed to find a successful mean between the opposite extremes of unrelieved repetition and unrelieved alteration.”[3]

According to Richard Middleton, musical form is “the shape or structure of the work.” He describes it through difference: the distance moved from a repeat; the latter being the smallest difference. Difference is quantitative and qualitative: how far, and of what type, different. In many cases, form depends on statement and restatement, unity and variety, andcontrast and connection.[4]

Form is the shape, visual appearance, constitution or configuration of an object. In a wider sense, the form is the way something is or happens

The word “rhythm” is sometimes misspelled, including the forms: rhythem, rhythim, rhythym, rhytm, rythem, rythim, rythm or rythym.

Rhythm is associated with:

Rythem is associated with:

Rhythim is associated with:

Rythm is associated with:

  • Rythm Syndicate, a 1990s dance-rock band
  • Dave Rodin is the Sound Engineer

    Ebbw Vale, Blaenau Gwent, United Kingdom
    1. The Ramona Flowers,
    2. Stereophonics,
    3. Roden Audio
    1. Gregory Porter,
    2. The Vamps,
    3. Bill Bailey
    1. King Henry VIII Comprehensive, Abergavenny

FOH Sound Engineer


1996 – Present (19 years)


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