Hey there,
Neal opens the door...
And to all you non Los Angelenos out there, this has got to at least
prove that there's what, at least three, four or five cool folks that
hail
from this his region, right?
Who are the other four?
...and I step through.
Boom boom. One in a row.
Later...
CK
Will Miner wrote:
I know we've been focusing, or trying to, on producers of twang, but I've
been surprised that no one's mentioned Jeff Lynne, one of the most
wretched of the wretched. No matter what the lineup of the band or their
style, after going through his meat grinder they all
I must chime in here too, pointing out that my pal Michael Berick (MoMZine and
ND contributor) has foolishly taken my advice and logged on to P2. Welcome MB.
And to all you non Los Angelenos out there, this has got to at least prove
that there's what, at least three, four or five cool folks
Most assuredly every writer does not like every editor he/she is ever
assigned to work with, but I've never been in a position where I just handed
my manuscript to an editor and said "Here, change it at will." There's a
give and take there, much like what El Presidente Gracey described.
Terry says:
As for Chet
Atkins, since most of the artists he worked with wound up receiving
similar arrangements for their tunes, I'd say that's fairly good evidence
that he was calling the shots. That doesn't mean the artists had a problem
with his choices (though I don't know that you can
-Original Message-
From: Shane S. Rhyne [SMTP:[EMAIL PROTECTED]]
I guess I said all that to say this-- it doesn't make sense to me that
folks
can single-handedly blame Chet Atkins (or insert name of producer
here) for
any perceived faults in the production of Bobby Bare's (or
On Fri, 26 Feb 1999, Matt Benz wrote:
Did you know the Beatles, in 1969, claimed that Phil Spector
ruined their "Let It Be" songs with heaps of strings and choirs? Well,
at least McCartney complained. I don't think the others cared anymore.
Well, both Lennon and Harrison shortly
"Shane S. Rhyne" wrote:
I suppose I always assumed that production was a more collaborative effort
than what it sounds like.
Sometimes the producer is the de facto artist, like Phil Spector, whose
artists were pretty much nameless and interchangeable (except perhaps
the Righteous Bros) and
I swear fifty percent of the job lies in knowing when to say "that's the
one. Stop now"...
And another twenty-five percent lies in knowing when to say "hey, have you
got that tuner nearby?"
Jon Weisberger Kenton County, KY [EMAIL PROTECTED]
http://home.fuse.net/jonweisberger/
Terry A. Smith wrote:
np Bobby Bare/Chet Atkins again. "The Game of Triangles" is a killer song.
I'm wondering how it would go over here in the late 90s. It has one line
that goes something like this, "A woman can't steal a husband who's happy
at home." Yikes.
Interesting question, since
"Terry A. Smith" wrote:
As for Chet
Atkins, since most of the artists he worked with wound up receiving
similar arrangements for their tunes, I'd say that's fairly good evidence
that he was calling the shots. That doesn't mean the artists had a problem
with his choices (though I don't know
On Fri, 26 Feb 1999, Joe Gracey wrote:
I was a kid dj in Ft. Worth during this time, and my boss was the guy
who wrote "Fraulein"
Your boss was Lawton Williams?! Not only did he write "Fraulein," but he
also wrote what may very well be my all-time favorite country song, Gene
Watson's
Jon Weisberger wrote:
Matt says:
There are as many producer/musician relationships as there are
musicians and producers. There's the Ken Nelson school, where he kept
out of the way of creativity for the most part, letting Buck Owens run
the show while he ran the technical end,
Joe says:
It
finally dawned on me what he was doing- he was removing himself from the
process so that all he could be aware of was the mix itself. Brilliant,
really. (Other guys do the same thing by leaving and just coming in from
time to time to see how it's going.)
Or, to get back to the
Jon Weisberger wrote:
I swear fifty percent of the job lies in knowing when to say "that's the
one. Stop now"...
And another twenty-five percent lies in knowing when to say "hey, have you
got that tuner nearby?"
you know, I'm speaking with forked tongue because I rely on them, but I
Any way we can see this whole article, Jon?
Or, to get back to the producer that started the thread, here's a
snippet
from the JCM roundtable I mentioned earlier:
Q. What about the producers? I'd like for you to talk about what
they
contributed.
Buddy Harman: A lot of 'em were
Any way we can see this whole article, Jon?
Yeah, you can buy the issue (of Journal of Country Music); it's the current
one. The masthead says you can also get a photocopy of articles through The
Genuine Article, (215) 386-0100, but really, the whole issue is well worth
having, not only for
I'm not Jon, but go get yourself a subscription to the Journal of Country Music. It's
in the latest issue.
Jim Nelson
Matt Benz [EMAIL PROTECTED] 02/26 2:08 PM
Any way we can see this whole article, Jon?
However, I must say that in Atkins' defense (as if he needed it- he's a
giant) that in the instances where the addition of pop elements would
have been jarring, he didn't do it (like for Charley Pride and Johhny
Bush.) (I still maintain that those Bare records were not jarring when
we
Don Yates wrote:
On Fri, 26 Feb 1999, Joe Gracey wrote:
I was a kid dj in Ft. Worth during this time, and my boss was the guy
who wrote "Fraulein"
Your boss was Lawton Williams?! Not only did he write "Fraulein," but he
also wrote what may very well be my all-time favorite country
"Terry A. Smith" wrote:
And are those suburban singers really the anita kerr singers? Sheesh.
Yep, they and the Jordanaires were all over Nashville records.
One
more thing, people today hear things differently, have different attitudes
about production, so, I'm curious, was Atkins slick
Will Miner wrote:
I know we've been focusing, or trying to, on producers of twang, but I've
been surprised that no one's mentioned Jeff Lynne, one of the most
wretched of the wretched. No matter what the lineup of the band or their
style, after going through his meat grinder they all
I must chime in and agree here about Jeff Lynne - particularly with the
godawful synth bath production jobs he did to Dave Edmunds back in the early
80's.
MichaelBerick
I must chime in here too, pointing out that my pal Michael Berick (MoMZine and
ND contributor) has foolishly taken my
Howdy,
I was listening to our local morning radio talk show host interview Ralph
Emery a few minutes ago. Most of the interview was about Ralph and his new
book, plus some history of Ralph's experiences in Nashville.
I noted that the following portion of the interview was significant in some
"Shane S. Rhyne" wrote:
On a personal note, I don't hold to the theory that is sometimes advanced
here that artists are "forced" to bend to the will of producers against any
artists' better judgment. I don't know jack about how to record an album,
but I've always operated under the
Howdy,
Thanks for the input Matt!, Jon, Joe and Terry.
Your responses to my post (particularly my personal testimony) bring me to
some new questions.
As I mentioned, I don't know jack about how to make a record. I'm just a
listener.
I suppose I always assumed that production was a more
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