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.
-Salon.com, 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.

3 comments:

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.

www.michounet.com/fatman/

Jacke said...

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