I looked online today and discovered George Martin made less than $100 for the horns in Mother Natures Son. Stunning. I wonder about his instincts, I love the arrangements in Beatles music. The only other record he produced that is a very big thing in my world is Blow by Blow by Jeff Beck, genius. Listen to the string arrangements he does for Jeff Beck it is pretty interesting that he is the same guy on the Beatles songs. Something so simple and musical about the way he embellishes those Beatle songs. I wonder for instance Eleanor Rigby, did he start with the lowest voice first? The highest voice? Did he realize he wanted 1/4 notes pulsing all along? Why let some parts be unique vs. other parts that held the rhythm? Does anybody have George’s #? I would like to ask him.
There was a time in the mid 90s that I hooked up with a few beautiful weirdos on the west coast. Adam and Kris and Carmaig de Forest. There were three or four or five tours and unique artists befriended in unlikely places like Bruce Bickford in Seattle. Frank Zappa made a film about Bickford’s work and he showed me his thick 3D library of artifacts just like in this footage.
I have tried my hand at animations, I’m primitive at best, my stuff looks like a drunk guy trying to draw. Worse actually but that hasn’t stopped me. Yesterday Jean Smith wrote on my wall about the song I wrote for the Greenpeace protestors who were sued by Mcdonalds – you can hear it here “Libelous“. Her generous compliment reminded me I have tried to make an animation for Libelous three times and never completed it. I wish I could do it like Mr. Bickford, but his amazing clayworks are jobs of several years, all day all night – could he really do all this and change diapers? That’s partly my query.
A lengthy song like Libelous needs a visual component. I don’t think otherwise I could hold peoples’ attention to listen to such a long story about two activists who published undeniable truths and were then sentenced to jail terms even though the Magistrate agreed that the content of their publication was all true (the libel laws in Britain are slanted in favour of those who make the charges). In fact I don’t think you are even still reading this blog right now because it’s too long. If I’m correct just hit the like button. If I’m wrong go to your window, open it and scream we’re mad as hell and we’re not going to take it anymore.
What do producers get paid?
It is an invented economy. People charge what they want and what others are willing to pay. Maybe by the hour, by the day, by the project, by the reputation.
You should try a song or two with a producer first to see whether it seems like a good thing or not. Personally I’m interested in producers who are members of the illuminati. I thought a producer was a magician who should not leave the studio unless everyone feels a sense of magic and conspiracy going down.
I wrote Stevie Wonder in the 90s to see if I could get him to produce my third record with Warner Music Canada. I Paid the CNIB to translate my letter into braille but didn’t hear back from Mr. Wonder, (you would think he would have jumped at the opportunity). His masterpiece productions especially the mid 70s records – proof he was on the illuminati board of directors.
Tons call themselves producers but often they are just overseeing what an engineer is doing. That feels like a scam to this Wiseman. Better to use a great engineer only and save money. Is there a reason to pay a producer? Yes – to inspire (or write) amazing arrangements, to guide experimentation and to manage time for everyone’s benefit, to make sure the final mix is amazing and to be responsible for every detail. But if the person is just an engineer calling themselves a producer then your paying twice for the same service.