many ifs in that sentence. while i agree that some of the motown output was
classic, it also had a "formulaic" quality to it that's plagued the pop
industry ever
since. e.g. had a hit? next single will be a rehash of that hit.
also, this is probably the wrong list to mention this name, but stephen
stapleton
(nurse with wound) is almost more a knob-twiddler than anything else, but he's
also a great artist in my opinion, pushing the boundaries of music and
experimentation.
there have also also several engineer/producers who had both the skills and the
creativity to being out the best in an artist, cutting out one step in the
"committee"
version - flood comes to mind.
d.
---------- Original Message ----------------------------------
From: "Thomas D. Cox, Jr." <[EMAIL PROTECTED]>
Date: Thu, 31 Aug 2006 19:15:19 -0400
>On 8/31/06, Stoddard, Kamal <[EMAIL PROTECTED]> wrote:
>> I think all the dudes who know the technicals and still suck, should
>> just become "engineers" and bring in a "producer" with creative ideas
>> who didn't have to be concerned at all with the technicalities. That
>> would sort all this out and then creative people would never be tempted
>> to overproduce because they wouldn't know how to work the gear. Oh wait!
>> That's how it used to work since like, forever. And crap was still the
>> overwhelming outcome. Oh well. There's no hope for music. There never
>> was. Idiots will win on sheer numbers. Give up. Die.
>
>those kinds of arrangements did of course produce the motown stable of
>artists, philly international, etc etc. id say that if you have a good
>vision and a stable of artists to work with, that kind of arrangement
>will produce good stuff more often than a bunch of "engineers" sitting
>around twiddling their knobs....
>
>tom
>
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