In the final episode of Soundbreaking, we explore how the evolution of formats continues to expand the social and sonic experiences of music. The personal listening experience of CDs and cassettes came, for many, at the costs of quality.But for producer Bob Ludwig, CDs offered a new challenge to explore the highest fidelities available in the recording process.
“I Am My Music” shifts the focus from the creation of music to the experience of listening to it, and to the formats that defined that experience. From vinyl, cassette tape, CD, and MP3, each generation has had a piece of musical media to call its own.
In the final episode of Soundbreaking, we discover that the music formats that are so familiar to us now, the single and the LP, were actually born out of a 'format war' between rival record companies RCA Victor and Columbia. With commentary from Steven Van Zandt on new recording freedom for artists and the emergence of Rock and Roll.
In Sound and Vision, Soundbreaking chronicles MTV’s influence on records through Nirvana's MTV Unplugged performance. An experimental “live” performance format became a new opportunity for a band experiment publicly with new sounds. Producer Scott Litt and band member Dave Grohl reflect on the fact that even though Nirvana was reluctant to perform, it has since become a staple of their catalog.
Tracking the music video from MTV to the internet, Sound and Vision tells the story of how a one-time marketing tool became a powerful mediator between artist and audience, and illuminates the music video's role in the popular music of today.
The launch of MTV established a new creative platform for recording artists but not everyone had access to it. In Sound and Vision, Soundbreaking explores the historic moment Michael Jackson broke through the race barrier changing the face of the channel forever. Featuring flashbacks with the iconic Rick James and commentary from Jason King, Nelson George and Jimmy Jam.
Episode 6 of Soundbreaking, The World is Yours, explores the birth of Rap and Hip Hop from the Caribbean to the Bronx. Public Enemy’s Chuck D., DJ Spooky and Jason King look at the innovations in recording studio that brought the spirit of the mobile sound system, and the Caribbean tradition of “toasting” to the masses.
The meteoric rise of rap music started with an unforgettable record: Rapper’s Delight from Sugarhill Studios in 1980. In episode six of Soundbreaking, academic Todd Boyd tracks the record’s roots to a pizza parlor in New Jersey with commentary from Public Enemy’s Chuck D., Neneh Cherry, Questlove and Chic’s Nile Rodgers,
"The World is Yours" looks at a musical revolution that was not only inspired by recording but born from its history: the art of sampling—a kind of musical equivalent of Adam's rib. Beginning with the pioneers of hip hop (Afrika Bambaataa, Chuck D, Rick Rubin), the episode tracks the way in which the practice of borrowing fragments from existing records created a new genre.
Disco brought together diverse communities and created a never ending beat that brought everyone to the dancefloor. Episode five of Soundbreaking takes you on a journey back to the Hippy days of Greenwich Village, New York to the creation of Chic’s groovy Disco classic ‘Everybody Dance’ through Nile Rodgers' own story.
If the vocal track is the heart of a song, the rhythm track—the beat—is its body. It is the sonic element that taps into the most primal part of us and makes us want to move. “Four on the Floor” breaks the beat down, and examines the endless experimentation that has taken place at its core, the very bedrock of all music.
Little Richard brought the fervor of gospel into the limelight through his electrifying arrangements and driving beat. In this clip Jason King and Todd Boyd track his pounding, frenzied beat to the foundations of modern Rock and Roll.
In Going Electric, Soundbreaking explores the unstoppable chain reaction in the recording studio triggered by plugging in. Giorgio Moroder, The Black Keys’ Patrick Kearney and Foo Fighters’ Dave Grohl celebrate the new world of electric guitars and synthesizers while Producer Linda Perry and The Who’s Roger Daltrey highlight some of the downsides of turning up the volume.
In this clip from Going Electric, Producer of The Who, Glyn Johns, traces the origins of Baba O’Riley to a unique synthesized rhythm pattern Peter Townsend created as the base for the song. A song that could only have come from the studio became unforgettable live and on record when juxtaposed with the explosive vocals of Roger Daltrey and the guitar, bass and drums of the band.
“Going Electric” tells the story of how electricity has been harnessed and channeled to create new and never-before-heard sounds, tracing both the chain reaction unleashed by the invention of the electric guitar and the evolution of synthesized music.
Celebrating the most powerful of all instruments, “The Human Instrument” surveys the range of ingredients that go into a perfect vocal track. Featuring rare studio footage of some the world's most renowned vocalists––from blues divas to suave crooners to rock star screamers.
In episode three of Soundbreaking, The Human Instrument, Imogen Heap demonstrates the power of the human voice as an instrument and the independence studio innovations have provided for musicians today. Looping lyrics and beats, Heap improvises a track to show the unlimited creativity available to her in her home studio.
In Episode three of Soundbreaking, Bonnie Raitt and Roger Waters look to the pure emotion Bessie Smith brought to early Blues records. Bessie had a powerful voice, but studio innovations created the elements needed to record it at its most vulnerable. The closeness, made possible by emerging recording technology allowed Bessie to reach out through the speaker and sing directly to the listener.
In the second episode of Soundbreaking, we trace the evolution of the Beach Boys through the seminal album "Pet Sounds" and the single "Good Vibrations." Producer Don Was and music writer Chuck Granata discuss Brian Wilson’s punishing process in the studio layering the results of multiple sessions into a final track. With commentary from musicians Glen Campbell, Hal Blaine and Carol Kaye.
“Painting with Sound” chronicles a watershed event in the history of music: the moment when the recording studio itself effectively became an instrument and gave rise to sounds that could never be reproduced live.