The Crossings: Defining <i>Slave to the Rhythm</i>

Jeremy J. Wells

doi:10.1017/9781009071079

Series: Elements in Popular Music

The Crossings

Defining Slave to the Rhythm

Published online by Cambridge University Press: 26 October 2023

Jeremy J. Wells

Show author details

Jeremy J. Wells: Affiliation:
University of York

Summary

The album Slave to the Rhythm is typical of the exaltation of pop stars but atypical in its presentation and interaction with biographical material. Three crossings are considered in this assessment of the work: technological, cultural, and structural. These are presented with a detailed track-by-track analysis using a range of signal processing techniques, some adapted specifically for this project. This Element focuses on the combination of digital, novel, and analogue technology that was used, and the organisational and transformational treatments of recorded material it offered, along with their associated musical cultures. The way in which studio technology functions, and offers interaction with its users, has a direct influence over the sound of the music that is created with it. To understand how that influence is manifested in Slave, there is considerable focus on the development and use of music technology.

Element contents

Summary
References

Get access

Keywords

pop production musicology music technology sampling Trevor Horn

Information

Type: Element
Information: Series: Elements in Popular Music

DOI: https://doi.org/10.1017/9781009071079 [Opens in a new window]

Online ISBN: 9781009071079

Publisher: Cambridge University Press

Print publication: 23 November 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Element purchase

Temporarily unavailable

References

Adorno, T. (1941). On Popular Music. Studies in Philosophy and Social Science, 9, 17–48.Google Scholar

Advanced Music Systems (1978). DMX15-80 User Manual. Burnley: Advanced Music Systems.Google Scholar

Afrika Bambaataa and The Soul Sonic Force (1982) Planet Rock (7” single). New York: Tommy Boy Records (catalogue: TB 823–7).Google Scholar

Allinson, R. and Levine, S. (2006). The Record Producers: Trevor Horn. BBC Radio 6 Music, 17 April.Google Scholar

Ampex (1971). AG-500 Series Price Schedule. http://lcweb2.loc.gov/master/mbrs/recording_preservation/manuals/AmpexAG-500Recorder-Reproducerpricesched(1971).pdf.Google Scholar

Angus, J. and Howard, D. (2009). Acoustics and Psychoacoustics, 5th ed. Oxford: Focal Press.Google Scholar

Anniss, M. (2016). J. J. Jeczalik: An Interview with the Fairlight Master. Red Bull Music Academy. https://daily.redbullmusicacademy.com/2016/11/jj-jeczalik-interview.Google Scholar

Anonymous (1983). Synclavier II, Part 1. Electronics and Music Maker, February 1983, 64–7.Google Scholar

Aphex Twin (1999). ∆Mᵢ⁻¹=−α ∑ Dᵢ[η][∑ Fjᵢ[η−1]+Fextᵢ [η⁻¹]], Windowlicker (12” single). Sheffield: Warp Records (catalogue: WAP105).Google Scholar

Bass, H., Sutherland, C., Zuckerwar, A., Blackstock, D. and Hester, D. (1995). Atmospheric Absorption of Sound: Further Developments. Journal of the Acoustical Society of America, 97(1), 680–3.Google Scholar

BBC Engineering (1963). Reverberation Plate EMT-140. Miscellaneous Sound Equipment. Technical Instruction S.9. www.bbceng.info/ti/eqpt/EMT140.pdf.Google Scholar

Beato, R. (2019). How Computers Ruined Rock Music. www.youtube.com/watch?v=AFaRIW-wZlw.Google Scholar

Bennet, S. (2019). Modern Records, Maverick Methods: Technology and Process in Popular Music Record Production 1978–2000. New York: Bloomsbury Academic.Google Scholar

Blesser, B. (1971). Applying Digital Technology to Audio: Delay, Transmission, Storage and Other Forms of Processing. The 41st Audio Engineering Society Convention, paper number 826.Google Scholar

Brewster, B. and Broughton, F. (2018). Making Musical History: Arthur Baker and Electro in 1980s New York. Red Bull Music Academy. https://daily.redbullmusicacademy.com/2018/01/arthur-baker-interview.Google Scholar

Born, Georgina. (2009). Afterword; Recording: From Reproduction to Representation to Remediation. In Cook, Nicholas, Clarke, Eric, Leech-Wilkinson, Daniel, and Rink, John (eds.), The Cambridge Companion to Recorded Music, 286–304. Cambridge: Cambridge University Press.Google Scholar

Borwick, J. (1990). Microphones: Theory and Practice. Oxford: Focal Press.Google Scholar

Broccoli, A. and Wilson, M. (Prod.) (1985). A View to a Kill. Eon Productions film.Google Scholar

Burns, T. (2013). Tom Moulton. Red Bull Music Academy. www.redbullmusicacademy.com/lectures/tom-moulton.Google Scholar

Buskin, R. (2013). ‘Prince “Kiss”’. Sound on Sound. www.soundonsound.com/sos/jun13/articles/classic-tracks-0613.htm.Google Scholar

Cambridge, Dictionary. Culture. https://dictionary.cambridge.org/dictionary/english/culture.Google Scholar

Chester, A. (1970). Second Thoughts on a Rock Aesthetic: The Band. New Left Review, 62, 78–9.Google Scholar

Chowning, J. (1973). The Synthesis of Complex Audio Spectra by Means of Frequency Modulation. Journal of the Audio Engineering Society, 21(7), 526–34.Google Scholar

Cook, N. (2013). Beyond the Score. Oxford: Oxford University Press.Google Scholar

Cunningham, M. (1998). Good Vibrations: A History of Record Production. London: Sanctuary.Google Scholar

Danielsen, A. (2010). Continuity and Break: James Brown’s ‘Funky Drummer’. https://edoc.hu-berlin.de/handle/18452/21060.Google Scholar

Davis, H. (1996). A History of Sampling. Organised Sound, 1(1), 3–11.Google Scholar

Dockwray, R. and Moore, A. (2010). Configuring the Sound-Box 1965–72. Popular Music, 29(2), 181–97.Google Scholar

Dolby, R. (1986). The Spectral Recording Process. Audio Engineering Society Convention, preprint 2431.Google Scholar

Edwards, G. (n.d.). Seal (Debut album) remixed/editted [sic] version. http://futureloveparadise.co.uk/anthology/disc-album/seal1edit.html Google Scholar

Eno, B. (2017). The Studio as Compositional Tool. In Cox, C. and Warner, D. (eds.), Audio Culture, 127–30. London: Bloomsbury Academic.Google Scholar

E.U. (1985). E.U. Freeze. 4th and Broadway (catalogue 12 GOGO 3).Google Scholar

Flint, T. (2000). Mike Thorne: The Stereo Society, Sound on Sound. www.soundonsound.com/people/mike-thorne-stereo-society.Google Scholar

Frankie Goes to Hollywood (1984). Welcome to the Pleasure Dome (various formats). London: ZTT (e.g. catalogue: ZTAS 7).Google Scholar

Frankie Goes to Hollywood (1984). Two Tribes (various 12” single releases). London: ZTT (catalogue: 12 ZTAS 3 ‘Annihilation’ and ‘Surrender’, XZTAS 3 ‘Carnage’ and ‘Surrender’, XZIP 1 ‘Hibakusha’).Google Scholar

Frith, S. (1998). Performing Rites: On the Value of Popular Music. Cambridge, MA: Harvard University Press.Google Scholar

Gardner, J. (2012). Interview: Peter Vogel. www.rnz.co.nz/concert/programmes/hopefulmachines/20131119.Google Scholar

Gilby, P. (1986). The Synclavier. Sound on Sound, May 1986, 12–16.Google Scholar

Glen, J. (2001). For My Eyes Only. London: Batsford.Google Scholar

Goude, J.-P. (1981). Jungle Fever. London: Quarto Books.Google Scholar

Goude, J.-P. (1983). White and Black [colour photograph]. www.jeanpaulgoude.com/en/archives/grace-jones.Google Scholar

Greenslade, R. (1993). All about Lissajous Figures. The Physics Teacher, 31, 364–70.Google Scholar

Hammond, R (1987). Peter Gabriel: Behind the Mask. Sound on Sound. January 1987, 40–5.Google Scholar

Hardcastle, P. (1985). 19. London: Chrysalis Records (catalogue CHSR 2860).Google Scholar

Harness, D. (2008). The Rhythm. Oakland, CA: Moulton Records (no catalogue number). Available at www.beatport.com/track/the-rhythm-original-mix/7717910.Google Scholar

Harrison, A. (2010). Tuum Raider. www.zttaat.com/article.php?title=1021.Google Scholar

Jackson, M. (1982). Thriller. New York: Epic Records (catalogue QE 38112).Google Scholar

Jensen, K. and Herbert, D. (2016). Evaluation and Prediction of Harmonic Complexity Across 76 Years of Billboard 100 Hits. In Kronland-Martinet, R., Aramaki, M. and Ystad, S., (eds.), Music, Mind and Embodiment, 283–96. Berlin: Springer.Google Scholar

Jones, G. (1980). Warm Leatherette. London: Island Records (catalogue ILPS 9592).Google Scholar

Jones, G. (1981). Nightclubbing. London: Island Records (catalogue 203 481).Google Scholar

Jones, G. (1982). Living My Life. London: Island Records (catalogue ILPS 9722).Google Scholar

Jones, G. (1985a). Slave to the Rhythm (7” single). London: Island Records/ZTT (catalogue IS 206).Google Scholar

Jones, G. (1985b). Slave to the Rhythm (12” single). London: Island Records/ZTT (catalogue 12IS 206).Google Scholar

Jones, G. (1985c). Slave to the Rhythm (album), 1st ed. London: Island Records/ZTT (e.g. vinyl disk: catalogue Grace-1).Google Scholar

Jones, G. (1987). Slave to the Rhythm, 2nd ed. London: Island Records/ZTT (e.g. vinyl disk: catalogue ISSP 4011).Google Scholar

Jones, G. (2015). I’ll Never Write My Memoirs. London: Simon & Schuster.Google Scholar

Lacasse, S. (2000). ‘Listen to My Voice’: The Evocative Power of Vocal Staging in Recorded Rock Music and Other Forms of Vocal Expression. PhD thesis, Laval University.Google Scholar

Lartillot, O. and Toiviainen, P. (2007). A Matlab Toolbox for Musical Feature Extraction from Audio. Proceedings of the 10th International Conference on Digital Audio Effects, 237–44. Bordeaux: University of Bordeaux.Google Scholar

Lavengood, M. (2017). A New Approach to the Analysis of Timbre. PhD thesis, City University of New York.Google Scholar

Lenhoff, A. and Robertson, D. (2019). Classic Keys: Keyboard Sounds That Launched Rock Music. Austin: University of Texas Press.Google Scholar

Liaisons, D. (1992). The Rhythm, appears on Submerged in Sound. Belgium: USA Import Records (catalogue USACD 10.133).Google Scholar

Lindvall, H. (2012). Behind the Music: Turning a Studio Performance into Recorded Magic. The Guardian, 29 March.Google Scholar

Long, P. (2012). The History of the NME: High Times and Low Lives at the World’s Most Famous Music Magazine. London: Portico.Google Scholar

Lornell, K. and Stephenson, C. (2009). The Beat: Go-Go Music from Washington, D.C. Jackson: University Press of Mississippi.Google Scholar

Magritte, R. (1929). The Treachery of Images [painting]. Los Angeles County Museum of Art.Google Scholar

Mastergroove (2012). Anialate, appears on Fine Groove. Southampton: Kode5 Recordings. Available (as Annihilate) at https://mastergroove1.bandcamp.com/track/annihilate.Google Scholar

McCallum, J. (2022). Memory Prices 1957+. www.jcmit.net/memoryprice.htm.Google Scholar

McLeod, K. and Dicola, P. (2011). Creative License: The Law and Culture of Digital Sampling. Durham, NC: Duke University Press.Google Scholar

Metheny, P. (1989). Electric Counterpoint, appears on Kronos Quartet and Metheny, P. Different Trains/Electric Counterpoint. New York: Nonesuch Records (catalogue: 9–79176–2).Google Scholar

Michael Viner’s Incredible Bongo Band (1973). Apache, appears on Bongo Rock. Los Angeles, CA: MGM Records (catalogue 2315 255).Google Scholar

Middleton, R. (1983). ‘Play It Again Sam’: Some Notes on the Productivity of Repetition in Popular Music. Popular Music, 3, 235–70.Google Scholar

Middleton, R. (1999). Form. In Horner, B. and Swiss, T., eds., Key Terms in Popular Music and Culture, 141–55. Oxford: Blackwell.Google Scholar

Milner, G. (2009). Perfecting Sound Forever. London: Granta.Google Scholar

Moore, A. (2007). Review of The Producer as Composer, by Virgil Moorefield. Twentieth Century Music, 4(1), 127–9.Google Scholar

Moore, A. (2001). Rock: The Primary Text. Aldershot: Ashgate Publishing.Google Scholar

Moore, R. (2008). My Word Is My Bond. London: O’Mara.Google Scholar

Moorefield, V. (2005). The Producer As Composer. Cambridge, MA: MIT Press.Google Scholar

Morton, D. (2006). Sound Recording: The Life Story of a Technology. Baltimore, MD: Johns Hopkins University Press.Google Scholar

Murphy, M. and Anstey, R. (2020). Reimagining Robb: The Sound of the World’s First Sample-Based Electronic Musical Instrument circa 1927. Audio Engineering Society Convention. e-Brief 585.Google Scholar

Murray, C. (1984). Sermon From the Savoy. New Musical Express, 29 September. https://paola1chi.blogspot.com/2019/09/sermon-from-savoy-interview-by-charles.html.Google Scholar

New York Times News Service (1987). Dolby Fights Digital Recording, But Quietly. Chicago Tribune, 5 December.Google Scholar

Niles, R. (2009). Interview with Trevor Horn. www.youtube.com/watch?v=AFaRIW-wZlw.Google Scholar

Nordhaus, W. (2001). The Progress of Computing. Cowles Foundation Discussion Paper 1324. New Haven, CT: Cowles Foundation.Google Scholar

Patten, D. (2019). Interview with Ian McShane. www.youtube.com/watch?v=l7kFN1xN6ic.Google Scholar

Penman, I. (1985). The Annihilation of Rhythm. Spoken word introduction to G. Jones, Slave to the Rhythm. London: Island Records/ZTT.Google Scholar

Presley, E. (1954). Blue Moon of Kentucky. [7” single]. Memphis: Sun Records (catalogue 209).Google Scholar

Prince (1986). ‘Kiss’, Parade. [Compact Disc]. Minneapolis, MN: Paisley Park CD.Google Scholar

Propaganda (1985). The Murder of Love, appears on A Secret Wish. London: Ztt (catalogue ZTTIQ 3).Google Scholar

Princess, Red (1993). You Make Me Feel So Good (Call Mix). Mouscron: Diki Records (catalogue DIKI 50.12.60).Google Scholar

Renevolution (2019). Frankie Goes to Hollywood ‘Slave to the Rhythm’ (1984/85). www.youtube.com/watch?v=HB4gBtMpUIs Google Scholar

Roads, C. (1996). The Computer Music Tutorial. Cambridge, MA: MIT Press.Google Scholar

Rogers, G. (1983). The Nature of Engineering. London: The MacMillan Press.Google Scholar

Rumsey, F. and McCormick, T. (2014). Sound and Recording, 7th ed. Oxford: Focal Press.Google Scholar

Sato, N. (1973). PCM Recorder: A New Type of Audio Magnetic Tape Recorder. Journal of the Audio Engineering Society, 21(7), 542–8.Google Scholar

Sauers, J. (2009). Why Photograph a Black Woman in a Cage? Jezebel. http://jezebel.com/5337618/why-photograph-a-black-woman-in-a-cage.Google Scholar

Schroeder, M. (1979). Binaural Dissimilarity and Optimum Ceilings for Concert Halls: More Lateral Sound Diffusion. Journal of the Acoustical Society of America, 65(4), 958–63.CrossRef Google Scholar

Siedenburg, K. and McAdams, S. (2017). Four Distinctions for the Auditory ‘Wastebasket’ of Timbre. Frontiers of Psychology, 8, Article 1747.Google Scholar

Smith, J. (2011). Spectral Audio Signal Processing. Stanford: W3 K Publishing.Google Scholar

The South Bank Show (1982). ITV, 31 October.Google Scholar

Steinski and The Mass Media (1986). And the Motorcade Sped On. New York: Tommy Boy Records (catalogue TB885).Google Scholar

Studer Professional Audio AG (1993). A820 Operating Instructions. Zurich: Studer.Google Scholar

Tagg, P. (n.d.). Glossary of Terms. https://tagg.org/articles/ptgloss.html.Google Scholar

Tagg, P. (2013). Music’s Meanings. Huddersfield: The Mass Media Music Scholars’ Press.Google Scholar

The Art of Noise (1999). The Seduction of Claude Debussy. London: ZTT (catalogue: ztt130 cd).Google Scholar

The KLF (1990). Chillout. London: KLF Communications (catalogue: JAMS LP5).Google Scholar

The Orb (1989). A Huge Ever Growing Pulsating Brain That Rules From The Centre Of The Ultraworld. London: WAU! Mr Modo Records(catalogue: MWS 017 T).Google Scholar

The Orb (1990). Little Fluffy Clouds. London: WAU! Mr Modo Records (catalogue: BLR 33 T).Google Scholar

The Rolling Stones (1965). (I Can’t Get No) Satisfaction. London: Decca (catalogue: F.12220).Google Scholar

The Winstons (1969). Amen, Brother/Color Him, Father. New York: Metromedia Records (catalogue MMS-117).Google Scholar

Tingen, P. (1987). Steve Lipson: The Price of Fame. Music Technology, May, 54–8.Google Scholar

Tingen, P. (1996). Fairlight: The Whole Story. Audio Media, January, 48–55.Google Scholar

Urayama, K., Ishiwata, K., Shirako, Y., Kawachi, H. and Kondo, T. (1988). Advances in DASH Format Multi-Channel Recording. Audio Engineering Society Convention, Preprint 2736.Google Scholar

Walters, B. (2015a). Interview with Bruce Woolley. www.brucewoolleyhq.com/pitchfork-interview.html.Google Scholar

Walters, B. (2015b). As Black as I Am, as Much as I Can: The Queer History of Grace Jones. The Pitchfork Review, August . https://pitchfork.com/features/from-the-pitchfork-review/9708-as-much-as-i-can-as-black-as-i-am-the-queer-history-of-grace-jones/.Google Scholar

Warner, T. (2003). Pop Music Technology and Creativity: Trevor Horn and the Digital Revolution. London: Routledge.Google Scholar

Watkinson, J. (2000). The Art of Digital Audio. Oxford: Focal Press.Google Scholar

Weber, W. (1999). The History of Musical Canon. In Cook, N. and Everist, M. (eds.), Rethinking Music, 336–55. Oxford: Oxford University Press.Google Scholar

Whitesell, L. (2008). The Music of Joni Mitchell. New York: Oxford University Press.Google Scholar

Wishart, T. (1977). Musical Writing, Musical Speaking. In Shepherd, J., Virden, P., Vulliamy, G., and Wishart, T. (eds.), Whose Music? A Sociology of Musical Languages, 125–53. London: Latimer.Google Scholar

Wishart, T. and Virden, P. (1977). Some Observations on the Social Stratification of Twentieth-Century Music. In Shepherd, J., Virden, P., Vulliamy, G. and Wishart, T. (eds.), Whose Music? A Sociology of Musical Languages, 155–77. London: Latimer.Google Scholar

Zagorski-Thomas, S. (2014). The Musicology of Record Production. Cambridge: Cambridge University Press.Google Scholar

Accessibility standard: Unknown

Why this information is here

This section outlines the accessibility features of this content - including support for screen readers, full keyboard navigation and high-contrast display options. This may not be relevant for you.

Accessibility Information

Accessibility compliance for the HTML of this element is currently unknown and may be updated in the future.