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61-450: After releasing their eponymous debut in 1991 through local record labels Cargo Music and Headhunter Records , Drive Like Jehu signed to major label Interscope Records along with Reis' other band Rocket from the Crypt . Their second album, 1994's Yank Crime , gained a cult following , but the group disbanded shortly afterward. Reis continued with Rocket from the Crypt and Trombino became

122-481: A Grammy nomination, the Recording Academy defines a producer: The person who has overall creative and technical control of the entire recording project, and the individual recording sessions that are part of that project. He or she is present in the recording studio or at the location recording and works directly with the artist and engineer. The producer makes creative and aesthetic decisions that realize both

183-557: A rhythm guitar to Reis' lead . Most of the songs started with Reis' guitar ideas and the whole band developed them through jam sessions . Drive Like Jehu's eponymous debut album was released in 1991 through Cargo Music and Headhunter Records , simultaneous with Rocket from the Crypt's debut Paint as a Fragrance . Produced by Donnell Cameron and with artwork by Froberg, it was praised as "a quantum leap forward" from Reis and Froberg's work in Pitchfork. In 1992 Drive Like Jehu released

244-429: A San Diego thing." According to Williams, "the point of the concert is to open up the (musical) boundaries, not to be narrow. The organ needs a future and any opportunities like this, I really look forward to." The novelty of playing with the accompaniment of the organ was a key factor in bringing the band back together. "The weird thing is that we are playing, and that it took something this weird for us to decide to play

305-423: A broad project, the creation of a popular music recording may be split across three specialists: the executive producer , who oversees business partnerships and financing; the vocal producer or vocal arranger, who aids vocal performance via expert critique and coaching of vocal technique, and the record producer or music producer, who, often called simply the producer, directs the overall creative process of recording

366-694: A couple of songs again," said Reis. "Only two of us live in San Diego; [Rick] lives in New York and [Mark]'s in Los Angeles. [Mark and Mike] pretty much haven't played music since Jehu or since shortly thereafter. Mark didn't even have a drum set until earlier this year, and he bought one specifically for us to play with the organ." The band played a set of five songs: "Do You Compute", "Super Unison", "Sinews", "If It Kills You", and "Luau". Rob Crow , who sang backing vocals on "Luau" on Yank Crime , joined them onstage during

427-471: A cylinder. By the 1930s, a gramophone etched it laterally across a disc. Constrained in tonal range, whether bass or treble, and in dynamic range , records made a grand, concert piano sound like a small, upright piano, and maximal duration was four and a half minutes. Selections and performance were often altered accordingly, and playing this disc—the wax master—destroyed it. The finality often caused anxiety that restrained performance to prevent error. In

488-457: A gorgeous, snare-drum rolling open sea, and everything you've ever liked (and still like) about this genre in its purest form comes flooding back." At the Drive-In frontman Cedric Bixler-Zavala stated that "there would be no Relationship of Command without Drive Like Jehu." He declared: "I remember doing a lot of English press and people being like, 'We think you guys are exotic, the names of

549-407: A leading A&R man of the 1950s. During the decade, A&R executives increasingly directed songs' sonic signatures, although many still simply teamed singers with musicians, while yet others exercised virtually no creative influence. The term record producer in its current meaning—the creative director of song production—appearing in a 1953 issue of Billboard magazine, became widespread in

610-516: A musical element while playing a previously recorded record, Les Paul developed a recording technique called "sound on sound". By this, the final recording could be built piece by piece and tailored, effecting an editing process. In one case, Paul produced a song via 500 recorded discs. But, besides the tedium of this process, it serially degraded the sound quality of previously recorded elements, rerecorded as ambient sound. Yet in 1948, Paul adopted tape recording, enabling true multitrack recording by

671-403: A musical project can vary in depth and scope. Sometimes in popular genres the producer may create the recording's entire sound and structure. However, in classical music recording, for example, the producer serves as more of a liaison between the conductor and the engineering team. The role is often likened to that of a film director though there are important differences. It is distinct from

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732-542: A new technique, " overdubbing ". To enable overdubbing, Paul revised the tape recorder itself by adding a second playback head, and terming it the preview head . Joining the preexisting recording head, erase head, and playback head, the preview head allows the artist to hear the extant recording over headphones playing it in synchrony, "in sync", with the present performance being recorded alone on an isolated track. This isolation of multiple tracks enables countless mixing possibilities. Producers began recording initially only

793-478: A power station, and let absolutely loose, screaming, nervous riffs piled on top of each other and taking off for Mars. Froberg's own wild scream singing suits it perfectly, sounding like something's about to give and leave nothing in its wake ... Everything is done in the service of intensity and emotion, winding everything up to explode and then explode again". All tracks by Drive Like Jehu Record producer A record producer or music producer

854-471: A set of recordings in Los Angeles. Later, folklorist Archie Green called this perhaps the earliest printed use of A&R man . Actually, it says neither "A&R man" nor even "A&R", an initialism perhaps coined by Billboard magazine in 1946, and entering wide use in the late 1940s. In the 1920s and 1930s, A&R executives, like Ben Selvin at Columbia Records , Nathaniel Shilkret at Victor Records, and Bob Haring at Brunswick Records became

915-1213: A successful record producer and audio engineer , while Froberg and Kennedy pursued careers outside of music. In 1999, Reis and Froberg began playing together again in Hot Snakes , which was active from 1999 to 2005 and again from 2011 until Froberg's death in 2023. Reis also re-released Yank Crime through his Swami Records label. Prior to forming Drive Like Jehu, vocalist Rick Froberg and guitarist John Reis had played together in Pitchfork from 1986 to 1990, while bassist Mike Kennedy and drummer Mark Trombino played in Night Soil Man from 1987 to 1990. Both bands performed several times together and respected each other. Pitchfork disbanded due to creative differences and their original bassist, Don Ankrom, relocating to San Francisco; shortly afterwards Night Soil Man broke up as well for undisclosed personal reasons. John Reis began hanging out with Kennedy and discovered their mutual admiration for Richmond, Virginia punk band Honor Role. Honor Role guitarist Pen Rollings influenced Reis deeply because his style

976-496: A successful record producer and audio engineer , working with bands such as Blink-182 and Jimmy Eat World , while Kennedy left music to become a chemist . Froberg briefly played in Thingy before moving to New York City to pursue a career as a visual artist and illustrator, later reuniting with Reis in the Hot Snakes from 1999 to 2005. In November 2002 Reis re-released Yank Crime through his Swami Records label, including on it

1037-448: A woman the reins of an immense, creative project like making a record." Ultimately, the reasons are multiple and not fully clear, although prominently proposed factors include types of sexism and scarcity of female role models in the profession. Women producers known for producing records not their own include Sonia Pottinger, Sylvia Robinson and Carla Olson. In January 2018, a research team led by Stacy L. Smith, founder and director of

1098-402: Is a music creating project's overall supervisor whose responsibilities can involve a range of creative and technical leadership roles. Typically the job involves hands-on oversight of recording sessions; ensuring artists deliver acceptable and quality performances, supervising the technical engineering of the recording, and coordinating the production team and process. The producer's involvement in

1159-660: Is more forgiving of overmodulation , whereby dynamic peaks exceed the maximal recordable signal level: tape's limitation, a physical property, is magnetic capacity, which tapers off, smoothing the overmodulated waveform even at a signal nearly 15 decibels too "hot", whereas a digital recording is ruined by harsh distortion of " clipping " at any overshoot. In digital recording, however, a recent advancement, 32-bit float , enables DAWs to undo clipping. Still, some criticize digital instruments and workflows for excess automation, allegedly impairing creative or sonic control. In any case, as production technology has drastically changed, so have

1220-787: The Annenberg Inclusion Initiative, based in the USC Annenberg School for Communication and Journalism , issued a report, estimating that in the prior several years, about 2% of popular songs' producers were female. Also that month, Billboard magazine queried, "Where are all the female music producers?" Upon the Annenberg Inclusion Initiative's second annual report, released in February 2019, its department at USC reported, "2018 saw an outcry from artists, executives and other music industry professionals over

1281-606: The single "Hand Over Fist"/"Bullet Train to Vegas" through Merge Records and the song "Sinews" on the Cargo/Headhunter compilation album Head Start to Purgatory . Interscope Records , interested in Drive Like Jehu, pursued the band and wound up signing both them and Rocket From the Crypt. Drive Like Jehu released an album first, putting out Yank Crime in 1994. Engineered and mixed by Trombino, and again with artwork by Froberg, it had some longer, more complex songs and

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1342-707: The "bed tracks"—the rhythm section , including the bassline , drums, and rhythm guitar—whereas vocals and instrument solos could be added later. A horn section , for example, could record a week later, and a string section another week later. A singer could perform her own backup vocals, or a guitarist could play 15 layers. Across the 1960s, popular music increasingly switched from acoustic instruments, like piano, upright bass , acoustic guitar , and brass instruments , to electronic instruments, like electric guitars , keyboards , and synthesizers , employing instrument amplifiers and speakers. These could mimic acoustic instruments or create utterly new sounds. Soon, by combining

1403-432: The 1940s advent of tape recording —which Les Paul promptly innovated further to develop multitrack recording —and the 1950s rise of electronic instruments, turned record production into a specialty. In popular music, then, producers like George Martin , Phil Spector and Brian Eno led its evolution into its present use of elaborate techniques and unrealistic sounds, creating songs impossible to originate live. After

1464-457: The 1940s, during World War II, the Germans refined audio recording onto magnetic tape—uncapping recording duration and allowing immediate playback, rerecording, and editing—a technology that premised emergence of record producers in their current roles. Early in the recording industry, a record was attained by simply having all of the artists perform together live in one take. In 1945, by recording

1525-513: The 1960s. Still, a formal distinction was elusive for some time more. A&R managers might still be creative directors, like William "Mickey" Stevenson , hired by Berry Gordy , at the Motown record label. In 1947, the American market gained audio recording onto magnetic tape. At the record industry's 1880s dawn, rather, recording was done by phonograph , etching the sonic waveform vertically into

1586-501: The 1980s, production's move from analog to digital further expanded possibilities. By now, DAWs, or digital audio workstations , like Logic Pro , Pro Tools and Studio One , turn an ordinary computer into a production console, whereby a solitary novice can become a skilled producer in a thrifty home studio. In the 2010s, efforts began to increase the prevalence of producers and engineers who are women, heavily outnumbered by men and prominently accoladed only in classical music. As

1647-547: The Drive Like Jehu song. The discography of Drive Like Jehu consists of two studio albums and one single . The following Drive Like Jehu songs were released on compilation albums. This is not an exhaustive list; songs that were first released on the band's albums are not included. Drive Like Jehu (album) Drive Like Jehu is the debut album by the American band Drive Like Jehu , released in 1991 by Cargo Music and Headhunter Records . Though not as highly regarded as their second and final album Yank Crime ,

1708-576: The Gories , Bastro , Slint , Sonic Youth , the Wipers , and krautrock bands such as Neu! Steve Huey of Allmusic calls them "arguably the most progressive of the leading post-hardcore bands: their lengthy, multisectioned compositions were filled with odd time signatures, orchestrated builds and releases, elliptical melodies, and other twists and turns that built on the innovations of the Dischord label. The result

1769-637: The Kinks produced some of their own songs, although many such songs are officially credited to specialist producers. Yet especially influential was the Beach Boys, whose band leader Brian Wilson took over from his father Murry within a couple of years after the band's commercial breakthrough. By 1964, Wilson had taken Spector's techniques to unseen sophistication. Wilson alone produced all Beach Boys recordings between 1963 and 1967. Using multiple studios and multiple attempts of instrumental and vocal tracks, Wilson selected

1830-709: The Tunnel Stage at the Treasure Island Music Festival in San Francisco. The band continued to tour in 2016, concluding their reunion tour and effectively ending the reunion in August 2016. Rick Froberg died of natural causes on June 30, 2023. Drive Like Jehu's music is often classified as punk , post-hardcore , and emo . Their initial biggest influence was punk band Honor Role, particularly its guitarist Pen Rollings. Other influences included Mission of Burma ,

1891-594: The album did gain the notice of the emerging noise rock and math rock movements, which would later lead many fans to regard Drive Like Jehu as a link between these genres. The album also helped to attract the attention of major record labels, leading both Drive Like Jehu and guitarist John Reis ' other band Rocket From the Crypt to sign a lucrative deal with Interscope Records . Ned Raggett of AllMusic remarked that "the Rick Froberg/John Reis guitar team sound like they've been dipped in battery acid, wired to

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1952-409: The artist's and label's goals in the creation of musical content. Other duties include, but are not limited to: keeping budgets and schedules; adhering to deadlines; hiring musicians, singers, studios, and engineers; overseeing other staffing needs; and editing (Classical projects). The producer often selects and collaborates with a mixing engineer, who focuses on the especially technological aspects of

2013-781: The band as "equal parts perplexing and relatable" and called his voice "one of my all-time favorites". He added that the early guitar playing of his own group can be mostly traced back to Jehu. Other artists who have cited them as an influence or expressed admiration for their work are Thursday , Jim Adkins of Jimmy Eat World , Justin Pearson of The Locust , Ben Weinman of The Dillinger Escape Plan , Matt Pryor of The Get Up Kids , J. Clark of Pretty Girls Make Graves , Violent Soho , Unbroken , Akimbo and Sandrider , KEN Mode , METZ , Matthew Bajda of Funeral Diner , Bryan Giles of Red Fang , Steven Roche of Off Minor and Genghis Tron . Bay Area hardcore band Super Unison named itself after

2074-469: The best combinations of performance and audio quality, and used tape editing to assemble a composite performance. The 1980s advent of digital processes and formats rapidly replaced analog processes and formats, namely, tape and vinyl. Although recording onto quality tape, at least half an inch wide and traveling 15 inches per second, had limited "tape hiss" to silent sections, digital's higher signal-to-noise ratio , SNR, abolished it. Digital also imparted to

2135-505: The capabilities of tape, multitrack recording, and electronic instruments, producers like Phil Spector , George Martin , and Joe Meek rendered sounds unattainable live. Similarly, in jazz fusion , Teo Macero , producing Miles Davis 's 1970 album Bitches Brew , spliced sections of extensive improvisation sessions. In the 1960s, rock acts like the Beatles , the Rolling Stones , and

2196-420: The decade's end, here the quartet capture its original sense: wired, frenetic, screaming passion, as first semi-created by the likes of Rites of Spring ." Brendan Reid of Pitchfork Media also notes that "It's often easy to forget that DLJ were considered emo in their day; Froberg's howls of 'Ready, ready to let you in!' on 'Super Unison' seem like a sick parody of stylish vulnerability. Then the song mutates into

2257-460: The industry are Logic Pro and Pro Tools. Physical devices involved include the main mixer, MIDI controllers to communicate among equipment, the recording device itself, and perhaps effects gear that is outboard. Yet literal recording is sometimes still analog, onto tape, whereupon the raw recording is converted to a digital signal for processing and editing, as some producers still find audio advantages to recording onto tape. Conventionally, tape

2318-669: The knowledge demands, although DAWs enables novices, even teenagers at home, to learn production independently. Some have attained professional competence before ever working with an artist. Among female record producers, Sylvia Moy was the first at Motown , Gail Davies the first on Nashville's Music Row , and Ethel Gabriel , with RCA , the first at a major record label . Lillian McMurry , owning Trumpet Records , produced influential blues records. Meanwhile, Wilma Cozart Fine produced hundreds of records for Mercury Records ' classical division. For classical production, three women have won Grammy awards, and Judith Sherman 's 2015 win

2379-507: The lack of women in music" and "the plight of women in music", where women were allegedly being "stereotyped, sexualized, and shut out". Also in February 2019, the Recording Academy 's Task Force on Diversity and Inclusion announced an initiative whereby over 200 artists and producers—ranging from Cardi B and Taylor Swift to Maroon 5 and Quincy Jones —agreed to consider at least two women for each producer or engineer position. The academy's website, Grammy.com , announced, "This initiative

2440-448: The last couple of years, I think John and Rick felt that to do something at the organ pavilion was worth getting back together for." Reis expressed enthusiasm for the organ's sound, saying "I especially love the way the low-end sound on the organ is so massive. When I go see organ concerts in the park, I want to collaborate with that sound and with Carol. It's not necessarily a 'good idea,' but it's an idea I feel strongly about, and it's such

2501-520: The manufacturing of record discs. After World War II , pioneering A&R managers who transitioned influentially to record production as now understood, while sometimes owning independent labels, include J. Mayo Williams and John Hammond . Upon moving from Columbia Records to Mercury Records , Hammond appointed Mitch Miller to lead Mercury's popular recordings in New York. Miller then produced country-pop crossover hits by Patti Page and by Frankie Laine , moved from Mercury to Columbia, and became

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2562-422: The metalcore band Botch , stated that “Drive Like Jehu was a huge influence on Botch; their writing approach definitely mirrored what we did in terms of banging things out till we had a song." British hardcore punk group Gallows were also inspired by them and Laurent Barnard singled out John Reis as one of his five favorite guitarists. The Blood Brothers vocalist Jordan Blilie described Rick Froberg's lyrics in

2623-770: The music a perceived "pristine" sound quality, if also a loss of analog recordings' perceived "warm" quality and better-rounded bass. Yet whereas editing tape media requires physically locating the target audio on the ribbon, cutting there, and splicing pieces, editing digital media offers inarguable advantages in ease, efficiency, and possibilities. In the 1990s, digital production reached affordable home computers via production software. By now, recording and mixing are often centralized in DAWs, digital audio workstations —for example, Pro Tools , Logic Pro , Ableton , Cubase , Reason , and FL Studio —for which plugins , by third parties, effect virtual studio technology . DAWs fairly standard in

2684-438: The precursors of record producers, supervising recording and often leading session orchestras. During the 1940s, major record labels increasingly opened official A&R departments, whose roles included supervision of recording. Meanwhile, independent recording studios opened, helping originate record producer as a specialty. But despite a tradition of some A&R men writing music, record production still referred to just

2745-463: The recording process, namely, operating the electronic equipment and blending the raw, recorded tracks of the chosen performances, whether vocal or instrumental, into a mix , either stereo or surround sound. Then a mastering engineer further adjusts this recording for distribution on the chosen media. A producer may work on only one or two songs or on an artist's entire album, helping develop the album's overall vision. The record producers may also take on

2806-506: The relationship with Bratton "didn't work out" and he was replaced by former Night Soil Man drummer Mark Trombino. The band's name was derived from the biblical story of Jehu in the Books of Kings : And the watchman told, saying, He came even unto them, and cometh not again: and the driving [is] like the driving of Jehu the son of Nimshi; for he driveth furiously. While Froberg had sung in Pitchfork, in Drive Like Jehu he also played guitar, adding

2867-462: The role of an executive producer , who is mostly involved in the recording project on an administrative level, and from the audio engineer who operates the recording technology. Varying by project, the producer may or may not choose all of the artists. If employing only synthesized or sampled instrumentation, the producer may be the sole artist. Conversely, some artists do their own production. Some producers are their own engineers, operating

2928-438: The role of executive producer, managing the budget, schedules, contracts, and negotiations. (Artists and Repertoires) In the 1880s, the record industry began by simply having the artist perform at a phonograph . In 1924, the trade journal Talking Machine World , covering the phonography and record industry, reported that Eddie King, Victor Records ' manager of the "New York artist and repertoire department", had planned

2989-431: The song in its final mix. The producer's roles can include gathering ideas, composing music, choosing session musicians , proposing changes to song arrangements, coaching the performers, controlling sessions, supervising the audio mixing , and, in some cases, supervising the audio mastering . A producer may give creative control to the artists themselves, taking a supervisory or advisory role instead. As to qualifying for

3050-667: The song to sing his parts. Drive Like Jehu scheduled a series of performances for 2015, including April 7 and 14 at The Casbah in San Diego, California, April 8 in Pomona, California ; April 11 and 18 in Indio, California at the Coachella Valley Music and Arts Festival ; and July 3 in Keflavík , Iceland at the All Tomorrow's Parties festival. On October 18, 2015, Drive Like Jehu performed on

3111-500: The songs and flannel and look is exotic.' I definitely knew what school we came from, and that people like Hot Snakes and Drive Like Jehu were our strongest influences, but they weren’t exactly huge in Europe." Isaac Brock of the indie rock band Modest Mouse said in 2007: "I love [Drive Like] Jehu. Jehu is one of my favorite all-time bands actually." Deftones covered their song "Caress" on their 2011 cover album . Brian Cook , bassist for

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3172-553: The sound that word would later come to signify, they exerted a powerful pull on its development. Moreover, they did fit the earlier definition of emo: challenging, intricate guitar rock rooted in hardcore and performed with blistering intensity, especially the frenzied vocals." Allmusic's Ned Raggett also commented on the emo connection in his review of Yank Crime : "Perhaps even more than the debut, Yank Crime solidified Drive Like Jehu's reputation as kings of emo. While use of that term rapidly degenerated to apply to sappy miserableness by

3233-440: The technology across the project: preproduction, recording, mixing , and mastering . Record producers' precursors were "A&R men", who likewise could blend entrepreneurial, creative, and technical roles, but often exercised scant creative influence, as record production still focused, into the 1950s, on simply improving the record's sonic match to the artists' own live performance. Advances in recording technology, especially

3294-597: The tracks from "Hand Over Fist" / "Bullet Train to Vegas" and "Sinews" from Head Start to Purgatory . Reis currently performs in The Night Marchers , Froberg in Obits , and together they perform as Hot Snakes . On August 31, 2014, Drive Like Jehu reunited for a performance at the Spreckels Organ Pavilion in San Diego's Balboa Park , accompanied by San Diego Civic Organist Dr. Carol Williams . The collaboration

3355-481: The vast majority have been men. Early in the 2010s, asked for insights that she herself had gleaned as a woman who has specialized successfully in the industry, Wendy Page remarked, "The difficulties are usually very short-lived. Once people realize that you can do your job, sexism tends to lower its ugly head." Still, when tasked to explain her profession's sex disparity, Page partly reasoned that record labels, dominated by men, have been, she said, "mistrustful of giving

3416-466: Was "very soulful" and had "personality" despite being a punk guitarist. Thus, he started playing guitar alone for many hours, trying to "merge himself" with the instrument. In 1990, Reis simultaneously formed the "self-proclaimed party band" Rocket from the Crypt and, around one month later, he recruited Froberg (who was also an Honor Role fan), Kennedy and drummer Chris Bratton to form Drive Like Jehu in August 1990. They had around five songs finished but

3477-653: Was an early female record producer, having produced both of her Ivor Novello award-winning songs. Across the decades, many female artists have produced their own music. For instance, artists Kate Bush , Madonna , Mariah Carey , Janet Jackson , Beyoncé (even that of Destiny's Child and the Carters ), Lana Del Rey , Taylor Swift , and Lorde have produced or coproduced and Ariana Grande who produces and arranges her vocals as well as being an audio engineer. Still among specialists, despite some prominent women, including Missy Elliott in hip hop and Sylvia Massy in rock,

3538-406: Was described by critics as an "uncompromising maelstrom of technically intricate fury" and "as worthy and awesome as its predecessor". In 1995 Drive Like Jehu disbanded, partly so that Reis could concentrate on Rocket from the Crypt, who put out three releases that year and continued until 2005. Drive Like Jehu never officially announced a breakup, but simply stopped playing together. Trombino became

3599-524: Was facilitated by Dang Nguyen, who co-owns Bar Pink in San Diego's North Park neighborhood with Reis and sits on the Spreckels Organ Society board of directors. "In February or March [2014], we discussed possibilities and the topic of Jehu came up; that's where it started," said Nguyen. "It was a project they wanted to bring back together. Because, after Hot Snakes and Rocket [from the Crypt] reunited in

3660-451: Was her fifth. Yet in nonclassical, no woman has won Producer of the Year , awarded since 1975 and only one even nominated for a record not her own, Linda Perry. After Lauren Christy 's 2004 nomination, Linda Perry 's 2019 nomination was the next for a woman. On why no woman had ever won it, Perry commented, "I just don't think there are that many women interested." In the U.K., Lynsey de Paul

3721-528: Was one of the most distinctive and ferocious sounds in the loosely defined post-hardcore movement." Next to contemporaries such as Fugazi and Quicksand , Drive Like Jehu was sometimes overlooked and their music was sometimes difficult for critics to place in a broader context. According to Huey, the band was influential to the development of emo even though the style's later sound was quite different from Drive Like Jehu's: "The term 'emo' hadn't yet come into wider use, and while Drive Like Jehu didn't much resemble

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