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Music Festival Powerpoint Presentation

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Rock Music PowerPoint Templates And Google Slides Themes

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Presentation Background Music Free Download . 81 tracks

Royalty free Presentation Music Free Download mp3. Presentation background music works great in slide-shows, PowerPoint (ppt), education, class and school presentations or training tutorial videos. It has nice flow, so it is ideal for getting more attention, inspirational and uplifting feeling in your projects.

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Rock music PowerPoint Templates and PowerPoint Backgrounds

DigitalOfficePro's Rock music PowerPoint Template and Rock music PowerPoint Backgrounds helps you engage your audience from top to bottom with artistically enhanced and visually stunning slides - aesthetically perfect to match today's audience expectations. Above all, it is pretty simple to customize text, color, font or layout of any of these PPT templates. Each of our templates comes with a set of PowerPoint Diagrams & Charts, Shapes and Icons too. Inspire & Engage your audience with Rock music PowerPoint Background Templates. Rock music PowerPoint Templates are available in both standard and widescreen formats.

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The History of Rock Music - PowerPoint PPT Presentation

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We love updating you on the best new rock n roll music songs and bands so keep checking our feed for more. – powerpoint ppt presentation.

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• Jimmy Paige, Robert Plant, John Paul Jones, and John Bonham revolutionized rock and roll music in the late 60s and early 70s. With face melting guitar solos by Jimmy Paige, thumping blues bass riffs of Jones, the shrill piercing voice of Plant, and backing drums of Bonham, Led Zeppelin experimented the full range of what rock and roll music could be. Perhaps the best all time rock and roll group, Zeppelin put out nine full length albums in just over a ten year period.
• Jim Morrison, Ray Manzarek, Robby Krieger, and John Densmore helped pioneer the psychedelic rock movement of the early 60s. Forming in 1965 in Los Angeles, Jim Morrisons vocal stylings pushed The Doors into the spotlight, his dominating, wailing voice and insane stage antics championing their live performances. The Doors were once of the first rock and roll bands of the 60s to experiment with keyboards and synthesizers as an instrumental part of their sound. Unfortunately The Doors tenure was cut short by the death of Jim Morrison at the age of 27
• Jimi Hendrix, Noel Redding, and Mitch Mitchell formed one of the first great Brit psychedelic rock bands of the 60s (the Beatles and Stones dont truly fall under this category). Jimi Hendrix might be held as one the greatest guitarist of all time. A natural lefty who filliped his guitar over to play it right handed as lefty reinvented some of the ways people thought about playing the guitar. The Jimi Hendrix Experience was one of the first bands to execute the power trio of guitar, bass, and drums.
• Mick Jagger and Keith Richards make up the bulk of the Rolling Stones, followed by other past musicians and musicians they currently tour with, Jagger and Richards are accredited with a majority of the creative genius of the Stones. The Rolling Stones were one of the first stadium rock bands to pack full houses of sports stadiums and actually have a great sound while doing it. The Stones blue MM rider became something of famous legend, in which the rider was placed to ensure the venues cared enough about their music to get even the tiniest details correct before they would go out and perform.
• Originally Syd Barrett, Nick Mason, Roger Waters, and Richard Wright, Pink Floyd added David Gilmour after Barretts mental breakdown from drug abuse. The British psychedelic rock band became famous for more progressive rock stylings, as well, Pink Floyd was one of the first rock bands to conceptualize their albums as one piece of art. All the songs on each album would lend themselves to a higher theme or idea, making their albums The Dark Side of the Moon, Animals, Wish You Were Here, and The Wall massively popular in the 70s.
• Arguably one of the best stadium rock bands of all time, Queens ability to control audiences is legendary. Freddie Mercury, Brian May, John Deacon, and Roger Taylor formed in 1970 in London. A true rock band of the time, Queen rarely broke from rock and roll into psychedelic or other types of rock music, but Mercurys voice powered them into the stratosphere of fame. Songs like Bohemian Rhapsody, We Are the Champions, and We Will Rock You became anthems for generations following Mercurys death.
• Nirvana championed the 90s punk rock movement. The Washington trio of Kurt Cobain, Krist Novoselic, and Dave Grohl immortalized the punk rock aesthetic of loud, in your face grunge rock music. They destroyed how people thought about rock and roll music in the 90s, they played a harder more visceral type of rock and roll most had never heard before. Accompanied with brilliantly dark lyricism from Kurt Cobain, the groups second major album Nevermind brought them unimaginable stardom, which ultimately drove Kurt to suicide at the age of 27.
• One of the earlier bands of the British rock invasion consisting of Roger Daltrey, Pete Townshend, John Entwistle, and Kieth Moon, The Who became famous for a more mainstream type of rock and roll. Some critics now deem some of The Whos music as hard rock or power pop, the band became famous for their classic guitar licks and power ballads.
• Last but certainly not least, the arguably most influential band of all rock and roll, and perhaps the band that started rock and roll The Beatles. Britain's first rock band consisted of John Lennon, Paul McCartney, Ringo Starr, and George Harrison. The evolution of sound the Beatles produced was unheard of, from where they started to where they ended, with the amount of music they produced, a group such as the Beatles will never be heard of again. They transformed the genre of rock and roll music from early pop rock beginnings to the psychedelic transformations in the Sgt. Peppers Lonely Hearts Club Band and The Beatles (White Album). In only a mere ten year span, the Beatles put out 12 full length albums and a plethora of unreleased music still hangs around in the vaults.
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Music Appreciation: The History of Rock

Jan 30, 2019

1.48k likes | 1.58k Views

Music Appreciation: The History of Rock. Chapter 20 70s Rock. Rock Music's Evolution (1970s) As rock music became the dominant form of popular music, new bands built on their predecessors’ strengths while branching out into new sonic territory.

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Music Appreciation: The History of Rock Chapter 20 70s Rock

Rock Music's Evolution (1970s) As rock music became the dominant form of popular music, new bands built on their predecessors’ strengths while branching out into new sonic territory.

Led Zeppelin gave rock a darker, heavier tone, becoming one of the ‘70s’ most popular bands and helping to kick-start a new genre known as hard rock or heavy metal. Around the same time, Pink Floyd added psychedelic elements and complex arrangements, creating concept albums tied together by a single theme and meant to be absorbed in a single sitting. Records like Dark Side of the Moon were credited with spawning the progressive rock movement.

In the late ‘70s, as a response to what they perceived as pretentious “hippie” bands such as Pink Floyd, groups like the Sex Pistols and the Clash simplified rock down to its core ingredients: loud guitars, rude attitude and enraged singing. Punk was born.

https://youtu.be/qbmWs6Jf5dc The Sex Pistols https://youtu.be/aUzBgeI5dpc The Clash

Hard rock, arena rock and heavy metal The 1970s saw the emergence of hard rock as one of the most prominent subgenres of rock music. Bands like Alice Cooper and Deep Purple were highly popular by 1972.The guitar sounds became heavier and the riffs faster. By the second half of the decade, several bands had achieved star status, namely, Lynyrd Skynyrd, Aerosmith and Kiss. Arena rock grew in popularity through progressive bands like Styx and hard rock bands like Boston

Alice Cooper https://youtu.be/zUwEIt9ez7M Deep Purple

https://youtu.be/sm-Vh3j8sys Styx https://youtu.be/SSR6ZzjDZ94 Boston

Heavy metal music gained a cult following in the 1970s, led by Led Zeppelin, Black Sabbath and Deep Purple, with their styles later influencing other bands like Judas Priest and Motörhead, which eventually started the New Wave of British Heavy Metal in the 1980s.

Psychedelic rock declined in popularity after the deaths of Jimi Hendrix and Jim Morrison and the breakup of The Beatles.

Soft rock and singer-songwriter Soft rock was prominently featured on many Top 40 and contemporary hit radio stations throughout the 1970s. Soft rock often used acoustic instruments and placed emphasis on melody and harmonies. Major soft rock artists of the 1970s included Carole King, James Taylor, Billy Joel, Chicago, America, and Fleetwood Mac, whose Rumours (1977) was the best-selling album of the decade. Bob Dylan's 1975-1976 Rolling Thunder Revue reunited him with a number of folk-rock acts from his early days of performing, most notably Joan Baez.

https://youtu.be/MOKx0xy8QE8 Carole King https://youtu.be/JOIo4lEpsPY James Taylor https://youtu.be/gxEPV4kolz0 Billy Joel

https://youtu.be/iUAYeN3Rp2E Chicago https://youtu.be/zSAJ0l4OBHM America https://youtu.be/mrZRURcb1cM Fleetwood Mac

A large number of country-pop and soft rock songs fit into the singer-songwriter classification — that is, songs written and recorded by the same person. Some of the most successful singer-songwriter artists were Jackson Browne, Eric Carmen, Jim Croce, John Denver, Steve Goodman, Arlo Guthrie, Billy Joel, Dave Mason, Don McLean, Joni Mitchell, Paul Simon, James Taylor and Neil Young. Some artists — including Carole King, Kris Kristofferson, and Gordon Lightfoot — had previously been primarily songwriters but began releasing albums and songs of their own.

King's album Tapestry became one of the top-selling albums of the decade, and the song "It's Too Late" became one of the 1970s biggest songs. McLean's 1971 song "American Pie," inspired by the death of Buddy Holly, became one of popular music's most-recognized songs of the 20th century, thanks to its abstract and vivid storytelling, which center around "The Day the Music Died" and popular music of the rock era.

Don McLean https://youtu.be/y5ecvBaqHBk

The early 1970s marked the departure of Diana Ross from The Supremes and the breakup of Simon & Garfunkel. Ross, Simon and Art Garfunkel all continued hugely successful recording careers throughout the decade and beyond. Several of their songs are listed among the biggest hits of the 1970s: Simon & Garfunkel's "Bridge Over Troubled Water," Simon's solo hit "50 Ways to Leave Your Lover," and Ross' "Ain't No Mountain High Enough."

https://youtu.be/ABXtWqmArUU Paul Simon https://youtu.be/4szjSq3uxQI Diana Ross

Country rock and Southern rock Country rock, formed from the fusion of rock music with country music, gained its greatest commercial success in the 1970s, beginning with non-country artists such as Bob Dylan, Gram Parsons and The Byrds. By the mid-1970s, Linda Ronstadt, along with other newer artists such as Emmylou Harris and The Eagles, were enjoying mainstream success and popularity that continues to this day. The Eagles themselves emerged as one of the most successful rock acts of all time, producing albums that included Hotel California (1976).

https://youtu.be/dAWS8BLFbPs Linda Rondstat Emmylou Harris https://youtu.be/TQ4jehpLCT0 The Eagles https://youtu.be/UI3F687SsoU

During the 1970s, a similar style of country rock called Southern rock (fusing rock, country and blues music, and focusing on electric guitars and vocals) was enjoying popularity with country audiences, thanks to such non-country acts as Lynyrd Skynyrd, The Allman Brothers Band, the Charlie Daniels Band and The Marshall Tucker Band.

https://youtu.be/SM3jgkChV6M Lynyrd Skynyrd https://youtu.be/6VxoXn-0Ezs The Allman Brothers

https://youtu.be/McIxMlOXbS0 Charlie Daniels Band https://youtu.be/dlc6xCPx60U Marshall Tucker Band

Progressive rock The American brand of prog rock varied from the eclectic and innovative Frank Zappa, Captain Beefheart, and Blood, Sweat and Tears, to more pop rock oriented bands like Boston, Foreigner, Kansas, Journey, and Styx. These, beside British bands Jethro Tull, Supertramp, and Electric Light Orchestra, all demonstrated a prog rock influence and while ranking among the most commercially successful acts of the 1970s, issuing in the era of pomp or arena rock, which would last until the costs of complex shows (often with theatrical staging and special effects), would be replaced by more economical rock festivals as major live venues in the 1990s.

https://youtu.be/smZA9Jv3qH0 Frank Zappa Captain Beefheart https://youtu.be/MRlWbzdmJQA https://youtu.be/aV22RVJDxyw Blood, Sweat, & Tears

New Wave Many American bands in the late seventies began experimenting with synthesizers, forming the new wave style. The original American bands included Talking Heads, The Cars, and Devo.

https://youtu.be/66wxY8H4Mu0 Talking Heads https://youtu.be/Z5-rdr0qhWk The Cars https://youtu.be/IIEVqFB4WUo Devo

Power pop Combining elements of punk rock and pop music, bands such as The Romantics, The Knack, and Cheap Trick created the "power pop" sound. Also seeing mild success is Loverboy.

https://youtu.be/g1T71PGd-J0 The Knack https://youtu.be/BJs_L7yq5qE Cheap Trick

Blues rock Blues rock remains popular, with Eric Clapton, ZZ Top, and George Thorogood and Bob Seger seeing the greatest success.

https://youtu.be/uMD_Ej3ATvo ZZ Top https://youtu.be/IyhJ69mD7xI George Thorogood

Disco For many people, disco is the genre of music most readily associated with the 1970s. First appearing in dance clubs by the middle of the decade, (with such hits as "The Hustle" by Van McCoy), songstresses like Donna Summer, Gloria Gaynor and Anita Ward popularized the genre and were described in subsequent decades as the "disco divas."

https://youtu.be/1IdEhvuNxV8 https://youtu.be/Tth-8wA3PdY https://youtu.be/URAqnM1PP5E

The movie Saturday Night Fever was released in December 1977, starring John Travolta and featuring the music of the Bee Gees and several other artists. It had the effect of setting off disco mania in the United States. the Bee Gees' soundtrack to Saturday Night Fever became the best-selling album of all time until 1983 when Michael Jackson's Thriller broke that record.

https://youtu.be/oQwNN-0AgWc

Almost as quickly as disco's popularity came, however, it soon fell out of favor. The genre started to become increasingly commercialized, and the large number of disco songs flooding the radio airwaves in 1978-1979 resulted in a growing backlash against it, as epitomized by the "Disco Demolition Night" stunt by a Chicago disc jockey at a July 1979 baseball game at Comiskey Park. Disco clubs also gained a reputation as decadent places where people engaged in drug use and promiscuous sex.

The popularity of the genre waned, and 1980s "Funkytown" by Lipps Inc. was one of the last disco hits. Along with the demise of disco came the end of the orchestrations and musical instruments which had become associated with disco, in part because of the high cost of producing such music.

Electronic and synthesized music quickly replaced the lush orchestral sounds of the 1970s and rock music resurged in popularity with new wave bands such as Blondie, The Knack, and Devo all who formed their bands in the 1970s. Many artists such as The Bee Gees, who came to be associated with disco, found it difficult to sell records or concert tickets in the 1980s.

https://youtu.be/WGU_4-5RaxU

R&B and urban Along with disco, funk was one of the most popular genres of music in the 1970s. Primarily an African-American genre, it was characterized by the heavy use of bass and "wah-wah" pedals. Rhythm was emphasized over melody. Artists such as James Brown, The Meters, Parliament-Funkadelic and Sly And The Family Stone pioneered the genre. It then spawned artists such as Stevie Wonder, The Brothers Johnson, Earth, Wind & Fire, Bootsy's Rubber Band, King Floyd, Tower of Power, Ohio Players, The Commodores, War, Kool & the Gang, Confunkshun, Slave, Cameo, the Bar-Kays, Zapp, and many more.

https://youtu.be/od-5gCO_PGE https://youtu.be/Jwe-g3GgJA0 https://youtu.be/Jwe-g3GgJA0

The Jackson 5 became one of the biggest pop-music phenomena of the 1970s, playing from a repertoire of rhythm and blues, soul, pop and later disco. The Jacksons - brothers Jackie, Tito, Jermaine, Marlon, and Michael — the first act in recording history to have their first four major label singles: "I Want You Back", "ABC", "The Love You Save", and "I'll Be There" reach thetop of the Billboard Hot 100. The band served as the launching pad for the solo careers of their lead singers Jermaine and Michael, and while Jermaine had some success, it was Michael who would transform his early fame into greater success as an adult artist, with songs such as "Don't Stop 'Til You Get Enough" and "Rock with You."

https://youtu.be/ho7796-au8U ABC https://youtu.be/s3Q80mk7bxE I Want You Back https://youtu.be/a6GvJvdO6Ag The Love You Save https://youtu.be/W-apaIOOoAo?list=RDW-apaIOOoAo I’ll Be There

The Commodores were another group that played from a diverse repertoire, including R&B, funk and pop. Lionel Richie, who went on to even greater success as a solo artist in the 1980s, fronted the group's biggest 1970s hits, including "Easy," "Three Times a Lady" and "Still."

Easy https://youtu.be/rQUZj57oljA https://youtu.be/B4dl6JSf-bc Three Times a Lady

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Steve Albini, Studio Master of ’90s Rock and Beyond, Dies at 61

A musician and audio engineer, he helped define the sound of alternative rock while becoming an outspoken critic of the music industry.

By Ben Sisario

Steve Albini, a rock musician and revered studio engineer who played a singular role in the development of the sound of alternative music in the 1980s, ’90s and beyond — recording acclaimed albums by Nirvana, PJ Harvey and Pixies, along with hundreds of others — while becoming an outspoken critic of the music industry, died on Tuesday at his home in Chicago. He was 61.

The cause was a heart attack, said Taylor Hales of Electrical Audio, the Chicago studio that Mr. Albini founded in 1997.

With a sharp vision for how a band should be recorded — as raw as possible — and an even sharper tongue for anything he deemed mediocre or compromised, Mr. Albini was a visionary in the studio and one of rock’s most acerbic wits.

On his own, he led the bands Big Black and Shellac, both of which venerated loud, abrasive guitars and snarling vocals. In those groups, and in virtually every project he worked on, Mr. Albini clung to punk’s defiant do-it-yourself ethic with an almost religious tenacity.

He also long maintained an impish zeal to provoke and offend. Big Black’s last, most acclaimed album, from 1987, has a typically unprintable title, and he once dismissed Nirvana — the group that later hired him to record the album “In Utero” (1993), at the peak of their fame — as nothing but “R.E.M. with a fuzzbox.”

A withering and prolific critic of the music business’s exploitive extremes, Mr. Albini wrote a widely quoted 1993 article, “ The Problem With Music ,” describing in clinical detail how naïve bands are lured into major-label deals that, in most cases, leave them broke and in debt.

In that article, which was published in The Baffler, Mr. Albini laid out a hypothetical ledger for a rock group that had signed a $250,000 record deal, but whose work, according to his math, netted the label $710,000 and the producer $90,000 — and just $4,031.25 for each member.

“The band members have each earned about ⅓ as much as they would working at a 7-Eleven,” Mr. Albini wrote, “but they got to ride in a tour bus for a month.”

However, in the 1990s, when his work as a recording engineer — he scoffed at being called a producer, thinking that term implied control over an artist’s work — was in highest demand, Mr. Albini made no apology for accepting big checks for recording major-label acts.

His recording approach, for underground bands like the Jesus Lizard and Slint, captured their muscular power with clarity, and brought out a drum sound you could feel in your gut.

Those bands also worked with Mr. Albini at their own risk; in those days, he was known for ridiculing the bands he recorded after the fact.

“Never have I seen four cows more anxious to be led around by their nose rings,” he wrote after recording “Surfer Rosa,” the seminal 1988 album by the Boston-based quartet Pixies, which became one of the defining classics of 1980s alt-rock. (Even so, Mr. Albini remained a close friend of Kim Deal, the bassist in that band, and recorded her other project, the Breeders.)

But to those who followed Mr. Albini closely, he was far more than a two-dimensional character. He became a champion poker player — winning more than $196,000 at the World Series of Poker in 2022 — and embraced social media, answering questions at great length and often with eye-opening honesty.

In recent years he also surprised many of his followers and detractors alike by revisiting his often-obnoxious past persona with a sense of contrition.

“A lot of things I said and did from an ignorant position of comfort and privilege are clearly awful and I regret them,” he wrote on Twitter , the platform now called X, in 2021.

Steve Albini was born in Pasadena, Calif., on July 22, 1962, and grew up in Missoula, Mont., where his father, Frank, worked as a wildfire research scientist.

He has described his young life in Montana as unremarkable until, as a teenager, he heard the Ramones’ first album, a blueprint of punk rock that was released in 1976. Its aggression, simplicity and puerile sense of humor opened up a new world for him.

“It was the first time I felt like there was any part of culture that represented the irreverence and goofiness and kind of mania that my friends and I were displaying,” Mr. Albini told The Guardian in an interview last year.

He enrolled at Northwestern University in Evanston, Ill., near Chicago, and began to develop his approach as a provocateur and a self-reliant musician. As an art project, he once stood behind a pane of plexiglass and taunted the audience to throw whatever they wanted at the barrier.

While at Northwestern, he recorded the first Big Black EP, “Lungs” (1982), almost entirely by himself on a borrowed reel-to-reel tape machine. It had cold, echoey, synthetic rhythms, and it sketched out a dark, nihilistic worldview in its opening lines: “The only good policeman is a dead one/The only good laws aren’t enforced.”

Big Black soon became a full band — though it continued to use drum machines — and the group’s output came to define a particularly raw form of the post-punk vanguard. At its best, on songs like “Kerosene” and “Jordan, Minnesota,” the band presented a nightmarish view of America, populated by arsonists, killers and child abusers, set to an impossibly intense, screeching soundtrack.

At the same time, Mr. Albini made a name for himself as a splenetic commentator on music. His written work, published in various fanzines, could seem like a form of insult comedy. He dismissed the Replacements’ beloved 1984 album, “Let It Be,” for example, as “a sad, pathetic end to a long downhill slide.”

In the late 1980s, he reached perhaps the height of his provocation with a new band he called Rapeman; the name, he said, was borrowed from a Japanese comic book, though he never denied it was meant to goad the audience. At some shows, the band faced protests. “The really annoying thing,” he once said, “was that the majority of the people on the picket line were precisely the kind of people that we would have liked at the gig.”

After making “Surfer Rosa,” which brought Pixies to wide attention, Mr. Albini became an in-demand producer for underground acts like Boss Hog, Superchunk and Urge Overkill. He recorded PJ Harvey’s “Rid of Me” (1993) with serrated guitars and — unorthodox for a major album — vocals set notably low in the mix.

He was soon courted by Nirvana for its follow-up to “Nevermind,” the album that became a global smash and ignited a revolution in the music business. Before agreeing to work with the group, he sent its three members a letter giving advice and laying out his terms.

“Bang out a record in a couple of days, with high quality but minimal ‘production,’” he wrote, “and no interference from the front office bulletheads.” He also told them, “I would like to be paid like a plumber” — meaning that he wanted a flat fee and not “points,” or a percentage of sales, a common practice among top record producers that Mr. Albini disdained as unethical.

But when the album was completed, the band’s record label, DGC, pushed for changes, and several of its tracks were remixed by Scott Litt, who had worked with R.E.M. “They waged a publicity campaign to try to shame the band into doing the record again,” Mr. Albini once told Tape Op , a magazine about audio recording.

He said his reputation had been damaged by the incident, though it was resuscitated when Jimmy Page and Robert Plant of Led Zeppelin recruited him for their 1998 album, “Walking Into Clarksdale.”

Since then, he had continued to work as an engineer and producer for countless bands, often at Electrical Audio, his studio; in a 2018 interview , he estimated that he had recorded “probably a couple thousand” albums to that point. Among the most acclaimed of them are records by Joanna Newsom, Nina Nastasia, Neurosis and Will Oldham.

His survivors include his wife, the filmmaker Heather Whinna, and his mother, Gina. Complete information on survivors was not immediately available.

When asked by The Guardian last year how he would like his career to be seen if he were to retire then, Mr. Albini answered: “I’m doing it, and that’s what matters to me — the fact that I get to keep doing it. That’s the whole basis of it. I was doing it yesterday, and I’m gonna do it tomorrow, and I’m gonna carry on doing it.”

He added, with an expletive, that he didn’t care.

Ben Sisario covers the music industry. He has been writing for The Times since 1998. More about Ben Sisario

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Steve Albini, US alt-rock musician and producer, dies aged 61

Vocalist, guitarist and producer for Nirvana, Pixies and PJ Harvey suffers heart attack

• Steve Albini was a button-pushing musician of uncompromising brilliance

Steve Albini, the vocalist, guitarist and producer who was at the helm of a series of the most esteemed albums across the US alternative music scene, has died aged 61 from a heart attack at his home in Chicago. Staff at his studio, Electrical Audio, confirmed the news to Pitchfork .

As well as fronting the bands Big Black, Rapeman and Shellac, who all pushed at the boundaries of post-punk and art-rock, Albini also produced – or, to use his preferred term, engineered – albums for dozens of artists including Nirvana, Pixies, PJ Harvey and Page and Plant. He was noted for his DIY and punk ethos, resisting streaming services and refusing to take royalties from the recordings he produced for other artists.

Shellac were preparing their first album since 2014, To All Trains, for release next week.

Born in California in 1962, Albini’s musical inspirations came from the punk movement, chiefly the Ramones but also the weirder end of the genre with bands such as Devo and Pere Ubu. He moved to the suburbs of Chicago to study journalism, and was drawn into the fertile underground music scene in the city, contributing to zines and working for the punk label Ruthless Records.

He started his own musical project, Big Black, initially a solo endeavour that soon became a trio. Their debut album Atomizer was released in 1986, and the second album, Songs About Fucking – characterised by its seething guitar tone and drum machine pulses – became a landmark in the decade’s US punk scene and earned an admirer in Robert Plant, who later had Albini produce his album with Jimmy Page, Walking Into Clarksdale.

Big Black had already split up by the time Songs About Fucking was released – “I prefer to cut it off rather than have it turn into another Gross Rock Spectacle”, Albini said – and he founded his next band Rapeman in 1987. Named after a Japanese manga, it was perhaps the most high-profile example of Albini’s eagerness to prod and provoke, and he later expressed regret for the band name, calling it “flippant”.

Mindful of not wanting to hop between band projects, Albini has said he wanted his next band to endure – and they did. Shellac, formed in 1992, became a singular light in the US art-rock scene, playing a minimalist yet playfully rhythmic style with riveting interplay between Albini, drummer Todd Trainer and bassist Bob Weston. They released five albums, plus To All Trains coming next week.

Alongside his own music, he nurtured his craft behind the mixing desk. A prominent early credit came on Surfer Rosa, the 1988 debut by Pixies, followed by numerous others as the grunge scene flourished in the early 90s, including the Jesus Lizard, Tad and the Breeders. He helped to define the raw sound of PJ Harvey’s Rid of Me in 1993, and that year had perhaps his most famous credit: Nirvana’s famously forbidding In Utero, the follow-up to Nevermind. His stark presentation of the band’s bleak songs disturbed the commercially minded label, Geffen, which Albini clashed with – the album ended up featuring two singles that were given brighter production compared with the Albini material.

Even as he occasionally freaked out the mainstream, Albini became adored by musicians for his unpretentious approach, foregrounding the intentions of each artist rather than bringing in a particular production flavour. He also favoured analogue techniques, brusquely announcing “fuck digital” on the sleevenotes to Songs About Fucking.

His success allowed him to set up Electrical Audio in 1995, and he appeared in the credits for numerous other landmark acts in American indie that went way beyond the noisy work he was generally known for: Joanna Newsom, Low, Jon Spencer Blues Explosion and others. British artists such as Manic Street Preachers, Mogwai and Jarvis Cocker also sought his expertise.

Possessed of a gleefully scabrous sense of humour, Albini riled up plenty of artists and fans alike with insults and provocations – such as jokingly dedicating a Big Black single to the fascist dictator Benito Mussolini. He became contrite in later years, saying in a viral thread on Twitter in 2021: “A lot of things I said and did from an ignorant position of comfort and privilege are clearly awful and I regret them.”

In a 2023 Guardian interview , he said: “Even as the right wing became more openly fascist, we were still safe – and that’s where my sense of responsibility kicks in, like: ‘Oh yeah, I get it now. I was never going to be the one that they targeted.’”

Albini was also a celebrated poker player, winning two coveted bracelets at World Series of Poker tournaments and hundreds of thousands of dollars in winnings.

Among those paying tribute to Albini were the actor Elijah Wood, who said his death was “a heartbreaking loss of a legend”.

David Grubbs, whose band Gastr del Sol worked with Albini, called him “a brilliant, infinitely generous person, absolutely one-of-a-kind, and so inspiring to see him change over time and own up to things he outgrew”.

Albini is survived by his wife, the film-maker Heather Whinna.

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Watch CBS News

Steve Albini, alt-rock musician and producer, founder of Chicago recording studio, dies at 61

By Todd Feurer , Andrew Ramos , Jim Williams , Adam Harrington , Dave Pehling

Updated on: May 8, 2024 / 11:55 PM CDT / CBS Chicago

CHICAGO (CBS) -- Steve Albini, an alt-rock musician, audio engineer, and producer who recorded albums for bands like Nirvana and Pixies and founded the Chicago recording studio Electrical Audio, has died at the age of 61.

Brian Fox, a fellow producer and engineer at Electrical Audio, confirmed Albini passed away Tuesday night from a heart attack.

"We are not ready to make any other statements yet. Maybe in the next few days, we could talk about his impact, which was immense," Fox said in an email.

Albini's death came little more than a week before his longtime band Shellac was set to release a new album, To All Trains, on May 17. It will be the band's first album since 2014.  

Albini was both revered and influential in the world of indie rock. He elevated the genre in its heyday of the 80s and 90s to a standard that still resonates today.

First developing an interest in punk after being introduced to the Ramones as a teen , Albini voraciously consumed all the new music he could find growing up in his hometown of Missoula, Montana, and played in his earliest music projects. After graduating high school, he moved to Evanston, Illinois, to attend journalism school at Northwestern University, immersing himself in the scene as a fan and a writer for local music magazines.

Albini began his music career in 1981 when he formed the punk rock band Big Black while a student at the Medill School of Journalism at Northwestern University.

He later went on to form two other bands, the controversially named Rapeman and Shellac, with the latter the longest-existing and arguably the most important band of his career as a performer. For Shellac, he performed vocals and guitar alongside bassist Bob Weston and drummer Todd Trainer.

He also helped record and track some of the most influential albums of the alternative rock era in the 1980s and 1990s, including Nirvana's "In Utero ," Pixies' "Surfer Rosa ,"  PJ Harvey's "Rid of Me ,"  Veruca Salt's EP "Blow It Out Your A** It's Veruca Salt ,"  and multiple albums for Urge Overkill and The Jesus Lizard.

He also helped record music for legends such as Cheap Trick, Jimmy Page and Robert Plant, and Foo Fighters, who recorded their hit song "Something from Nothing" at his Electrical Audio studio in Chicago.

An "icon of iconoclasm"

In a Chicago Magazine profile published 30 years ago this month , writer Mark Jannot described Albini as "the music industry's avatar of opposition, its icon of iconoclasm." The profile documented Albini's quest for perfection in the recording studio as he sought to make recordings that emulated a band's live sound as faithfully as possible – as well as the unabashed "streams of bile" he directed toward not only the record industry, but bands of which he disapproved.

On his meticulousness in the studio, Albini was quoted: "I honestly just feel that music like this deserves to be taken seriously. And that means people who record them should be as concerned about quality as if they were recording the f***ing Chicago Symphony."

"I think his approach to recording artists was really influential – you know – and it was, 'I want to capture the band the way they sound in the room, as if you were sitting five feet in front of them and having your hair blown back by the power," music critic Jim DeRogatis said Wednesday.

The 1994 Chicago Magazine profile also referenced a famous screed that Albini wrote directed at rock critic Bill Wyman of the Chicago Reader – not to be confused with the former bassist from The Rolling Stones. Wyman had sung the praises of three Chicago area acts that had made it big – the Smashing Pumpkins, Liz Phair, and Urge Overkill – in a 1993 year-in-review column , for what he called "an explicit rejection of much of the insularity that increasingly characterizes underground music and the fringes of alternative music in America."

Albini fired back  in a letter to the paper and dismissed all three acts as generic and mainstream – calling Phair "a persona completely unrooted in substance, and a f***ing chore to listen to," and comparing the Smashing Pumpkins to REO Speedwagon while calling them "ultimately insignificant."

He also wrote, directed at Wyman: "Music press stooges like you tend to believe and repeat what other music press stooges write, reinforcing each other's misconceptions as though the tiny little world you guys live in (imagine a world so small!) actually means something to us on the outside." In Jannot's article, Wyman was quoted that his comment about "insularity" in underground music, had, in fact, been a jab at Albini and what he perceived as Albini's elitism.

Just last year, Albini was the subject of another profile by Jeremy Gordon in The Guardian . Gordon wrote that while Albini may have come across as an unpleasant person, he was at the end of the day someone who "defended punk's credos – don't sign to major labels, reject authority, say what's on your mind, make a lot of noise – with uncompromising passion at a time when the counterculture was increasingly being assimilated, marketed and sold by the powers that be."

Jannot's story included a quote from Albini, "In a lot of ways, you spend the last 50 years of your life trying to get over the first 12."

"A blue-collar ethic"

The grief from Albini's passing was felt across the music industry.

The news quickly spread to friends and fans, who gathered outside his Electrical Audio studio in the Avondale neighborhood Wednesday.

his impact was significant with fellow musician Alison Chesley who opened for his Big Black in the 90s.

"He changed my life as a musician and as a person, and he was a good person," said Chesley. "He had a kind of a prickly reputation, but he was the sweetest, most loving person."

Joe Shanahan, the owner of Metro Chicago in Wrigleyville, took to his marquee to honor Albini on Tuesday. Albini played at the Metro countless times with his band.

Shanahan also couldn't deny that Albini had a sharp tongue.

"He was brutally honest. We'll say that there," Shanahan said. "He did not hold back."

But by all accounts, Albini was more than a caustic curmudgeon. DeRogatis also emphasized how Albini stuck strictly to the underground ethical aesthetic in the recording studio, by keeping the focus on the musicians he was recording and capturing their sound – not centering himself.

"He wore these industrial overalls in his studio on Belmont just off Western, and he said, 'You hire a plumber, and they come and they fix your toilet.' You hire me, and I capture what you do. I don't put my thumbprint on it. I don't take royalties from the recording,'" said DeRogatis, "which set him apart from 90% of big-name producers."

But this also meant the musicians didn't get any indulgence they desired either, DeRogatis said.

"Many big-name bands tried to hire him, and he worked with a few. He worked with Robert Plant and Jimmy Page of Led Zeppelin," he said. "But they had to work his way, which is: 'We're not going to do a million overdubs. We're not going to have caviar catered to the studio. I'm going to wear my overalls. I'm going to mic things the way I think they should. I am not going to give you my opinion unless you ask for it. This was a very Chicago attitude."

Shanahan said Albini's legacy will significantly lean on his impact in Chicago.

"The indie and punk rock scene of Chicago has his fingerprints all over it," Shanahan said. "Steve was a mechanic. You know, he was a worker - a blue-collar sort of like ethic."

Todd Feurer is a web producer at CBS News Chicago. He has previously written for WBBM Newsradio, WUIS-FM, and the New City News Service.

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Foo Fighters Rock Roll Audience at Festival With Van Halen ‘Eruption’ Solo Fake-Out

Wolfgang Van Halen helped the band pull off the Rick Astley-like stunt on Saturday at the Welcome to Rockville fest.

By Gil Kaufman

Gil Kaufman

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Dave Grohl is a showman. The Foo Fighters frontman loves to surprise and delight his band’s fans by giving them a bit of the unexpected amid the sweat and rumble of a typically high-energy Foos show.

Dave Grohl Dedicates ‘My Hero’ to Steve Albini at Foo Fighters Concert in N.C.

Trending on billboard.

“Dude, I told you to keep that cool Wolfie, what the f–k you doing right now?” Grohl jokingly chided Van Halen. “Everybody, give it up for f–ing Wolfgang Van Halen.” Wolfie then played a bit of the the equally killer “Hot for Teacher” solo as the Foos got back to business with “My Hero.”

“Since Wolfie took all that f–king time to pull off that joke with us, I’m gonna dedicate this one to him,” Grohl said. “Let’s sing this one for him, and let’s sing this one for his f–king dad too.” Last week Grohl dedicated a version of “My Hero” to late producer/engineer Steve Albini, who was behind the boards for Nirvana’s final studio album, In Utero , as well as the Foos’ Sonic Highways .

Watch video of the Wolfgang Van Halen cameo below.

View this post on Instagram A post shared by Wolf Van Halen (@wolfvanhalen)

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