Thursday, February 23, 2006

George Martin on the early Beatles

[...] the Beatles' demo tape had been "pretty lousy" and "very badly balanced" and contained "not very good songs" by "a rather raw group," Martin has recalled [...]

In the beginning, Martin was tough on the group. "As composers, they didn't rate. They hadn't shown me that they could write anything at all," he told Melody Maker., article on George Martin
Perhaps there is hope for me still.

The article also quite rightly indicates the importance of the producer. Remember Bruce Springsteen singing about the million-dollar sound? That can also refer to the price of the producer.


Jonas said...

“…The article also quite rightly indicates the importance of the producer…”

Very true. Actually, during the heydays of hair metal there were a few “go-to-guys” record labels used after they had signed a band that were more into partying and looking like chicks than making good songs. Those producers were counted on to squeeze a hit song or power ballad out of the band. The hair metal songs were meticulous studio constructs with plenty of reverb (especially on the vocals and drums), “gang vocal”-choruses (think Living on a Prayer), metronomic drums (a lot of producers liked to use drum machines so they could splice takes together more easily) and of course the guitar sound. Well, I could go on and on…

In other news, I’ve begun writing a song with the working title of “Ode to Palmela”. But I might change the title to “Lovin’ Guaranteed” or “Lonely Lovin’”.

Jonas said...

Hey, do me a favour and see if this is funny.

Jacke said...

Oh, I get it now! "Palm-ela"! I misread it at Pamela the first few times... Very clever.