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Record Producer: Difference between revisions
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|'''[[The Simpsons (animation)|The Simpsons]]'''}}
Recording an album wasn't easy. You and your [[Ragtag Bunch of Misfits|plucky underdog band]] had to either get signed to a record label or raise [[Money, Dear Boy|funds]] to pay for studio time. Then you had to choose a '''record producer''', hope nobody ended up at somebody else's throats by the end of the sessions and prepare to be [[Executive Meddling|dicked around by the label]].
Of course, improvements in recording technology now give you the option to say bollocks to all that and just record stuff at home in GarageBand or something. However, these improvements haven't overshadowed traditional studios yet.
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* Joe Meek. He was the inventor of many modern bits of studio equipment which are still used today in almost their original forms, and is widely considered an electronic music pioneer. He was also completely insane, and ended his life killing himself after shooting his landlady.
* Martin Hannett, Factory Records' in-house producer. Various stories circulate about his bizarre [[Cloudcuckoolander]] behaviour towards [[Joy Division]], his obsession with drum sounds in particular manifesting itself in freaky tormenting for drummer Stephen Morris. The following acts are attributed to Hannett: forcing Morris to dismantle his kit and re-assemble it with extra toilet parts, setting up his kit on a fire escape, making him continue playing for an hour after everybody else finished recording, staying on a hill for an hour to record "silence", and insisting that Morris play every drum separately to prevent leakage.
* Kevin Shields, who exhibited
** Note that Shields was producing ''[[My Bloody Valentine (band)|his own damn band]]'' and put ''them'' through hell. The other band members haven't really complained, since ''Loveless'' is pretty much [[Crowning Music of Awesome]].
* Guy Stevens, the producer of [[The Clash]]'s ''[[Crowning Music of Awesome|London Calling]]''. Now, the band don't complain much since they got along with him very well and rightfully credit his production as a key ingredient of that album's success, but one can only imagine how pleasant it is to work with a producer who swings ladders and throws chairs around to keep everybody on edge and pours wine into piano cases for some reason. Well, hey, at least he ain't Phil Spector.
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{{examples|page=Invisible Producers}}
* [[Steve Albini]], most famously during the production of ''Surfer Rosa'' by [[The Pixies]] and ''In Utero'' by [[Nirvana]]; apparently because he
* Mick Jones for the Libertines.
* Glyn Johns, Andy Johns and Eddie Kramer, lumped together due to their producing and engineering work with many of the same artists ([[The Beatles]], [[Led Zeppelin]], [[Rolling Stones]] and [[Jimi Hendrix]]).
* Rodger Bain on [[Black Sabbath]]'s first three albums. It should be noted, however, that this was due primarily to the rush job they did on said albums, which was a common practice in that era.
* Nick Mason, drummer for [[Pink Floyd]], has done several production jobs for artists like The Damned, Gong and Robert Wyatt. People who he has worked with confirm that he is brilliant at organisation (getting the studios booked, keeping it on budget) but that his influence on the actual music is minimal.
* [[Andy Warhol]] for [[The Velvet Underground]]. Although credited as producer, his influence primarily seems to have been just to pay for the recording, the actual production work was done by Tom Wilson and the band themselves. [[Lou Reed]] acknowledged that Andy's pedigree allowed them to get away with a lot for their debut that might've otherwise been lost in [[Executive Meddling]].
== "George Martins" ==
The '''George Martin''' is the [[Long Runner]] of production, faithfully sticking with the same band for an incredible amount of time and albums. Of course, this exposes the band to the danger of getting stale, but it's not like they wouldn't get there anyway. Or alternatively, the band loses their way when they ditch the producer.
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