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The producer as composer : shaping the sounds of popular music / Virgil Moorefield.
| Author/creator | Moorefield, Virgil, 1956- |
| Format | Book |
| Publication Info | Cambridge, MA : MIT Press, ©2005. |
| Description | xix, 143 pages ; 24 cm |
| Subjects |
| Contents | 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 grapevine" ; George Martin and the Beatles. "Tomorrow never knows" ; "A day in the life" ; Frank Zappa. "Flower punk" ; The situation at the end of the sixties -- 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" -- The producer takes center stage. The discotheque and Musique concrete ; 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. |
| Abstract | 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 was evolving from that of organizer to auteur. The author, 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, the author 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. This book tries to unravel the mystery of good pop: why does it sound the way it does? |
| Local note | EMUSIC-305140005466 |
| Bibliography note | Includes discography (pages 119-123) and bibliographical references (pages 125-129) and index. |
| LCCN | 2005041588 |
| ISBN | 0262134578 (hc : alk. paper) |
Availability
| Library | Location | Call Number | Status | Item Actions |
|---|---|---|---|---|
| Music | Music Stacks | ML3470 .M66 2005 | ✔ Available | Place Hold |