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The Producer as Composer. Shaping the Sounds of Popular Music. 9780262514057

The Producer as Composer. Shaping the Sounds of Popular Music

MIT Press. 2005

Ficha técnica

  • EAN: 9780262514057
  • ISBN: 978-0-2625-1405-7
  • Editorial: MIT Press
  • Fecha de edición: 2005
  • Encuadernación: Cartoné con sobrecubierta
  • Dimensiones: 18x24
  • Idioma: Inglés
  • Nº páginas: 184

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The evolution of the record producer from technician to auteur, from Phil Spector and George Martin to the rise of hip-hop and remixing. In the 1960s, rock and pop music recording questioned the convention that recordings should recreate the illusion of a concert hall setting. The Wall of Sound that Phil Spector built behind various artists and the intricate eclecticism of George Martin's recordings of the Beatles did not resemble live performances - in the Albert Hall or elsewhere - but instead created a new sonic world.

The role of the record producer, writes Virgil Moorefield in The Producer as Composer, was evolving from that of technician to auteur; band members became actors in what Frank Zappa called a "movie for your ears." In rock and pop, in the absence of a notated score, the recorded version of a song - created by the producer in collaboration with the musicians - became the definitive version. Moorefield, a musician and producer himself, traces this evolution with detailed discussions of works by producers and producer-musicians including Spector and Martin, Brian Eno, Bill Laswell, Trent Reznor, Quincy Jones, and the Chemical Brothers. Underlying the transformation, Moorefield writes, is technological development: new techniques - tape editing, overdubbing, compression - and, in the last ten years, inexpensive digital recording equipment that allows artists to become their own producers.

What began when rock and pop producers reinvented themselves in the 1960s has continued; Moorefield describes the importance of disco, hip-hop, remixing, and other forms of electronic music production in shaping the sound of contemporary pop. He discusses the making of Pet Sounds and the production of tracks by Public Enemy with equal discernment, drawing on his own years of studio experience. Much has been written about rock and pop in the last 35 years, but hardly any of it deals with what is actually heard in a given pop song.

The Producer as Composer tries to unravel the mystery of good pop: why does it sound the way it does?

CONTENIDO

Acknowledgments
Introduction

Chapter 1. From Mirror to Beacon
Beginnings
The Brill Building Songwriters
Phil Spector's Wall of Sound
- "Be my baby"
Brian Wilson
- "Good Vibrations"
Hits Off the Assembly Line: Motown
- "I Heard It through the Gravepine"
George Martin and The Beatles
- "Tomrrow never knows"
"A Day in the Life"
Frank Zappa
- "Flower Punk"
The Situation at the End of the Sixties

Chapter 2. The Studio as Musical Instrument
Sixteen Tracks and More
Dark Side of the Moon
Tony Visconti
Brian Eno
- Music for Airports: "2/1"
- My Life in the Bush of Ghosts
Bill Laswell
- The Making of Swans' The Burning World
Trent Reznor
- "Mr. Self Destruct" v. "Irresponsible Hate Anthem"

Chapter 3. The Producer Takes Center Stage
The Discothèque and Musique Concrète
Disco: "The Producer's Genre"
- "I Feel Love"
Michael Jackson's Work with Quincy Jones
- "Billie Jean"
Kraftwerk and Conny Plank
Hip-hop and the Rise of Sampling
Hip-hop in the Late Eighties
- "Bring the Noise"
The Hip-hop Producer Today
Electronica
Remix
- "Break on Through" (The Doors; BT Remix)
- Re-editing Updated: Mash-Ups
The Contemporary Situation: Is the Producer Obsolete?

Glossary
Recordings Cited
Bibliography
Index



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