Jan 282011
 

Mick Jones not included.

Excluding self-produced albums, what established artists who have dabbled in producing records for other artists most interest you? And I put an emphasis on dabbled to rule out established artists who are also established producers, like Steve Albini and Brian Eno.

For instance, I wish I could hear a few more albums produced by Elvis Costello, who somehow made both clear and extremely simple the clutter of The Specials‘ debut. He also produced the only (in my opinion) fully enjoyable Squeeze album, East Side Story, which was engineered by Friend of the Hall Roger Bechirian.

Andy Partridge is another artist I’d like to hear produce a few more albums. I’m a big fan of his work on Peter Blegvad‘s The Naked Shakespeare and Martin Newell‘s The Greatest Living Englishman. I wish he’d have taken the reins on his own band’s albums beginning with Skylarking, but that may have eliminated him from this discussion.

As far as I know Ray Davies only produced one album for another artist, The TurtlesSoup album. That’s a winner, but considering Kinks albums are typically no great shakes in terms of conventional recording techniques I’m not sure Davies had that much else to offer.

David Bowie has proven himself a pretty lousy producer, or at least a less-than-satisfying one, in his work with others. I’m not saying the bass-heavy version of Raw Power rectified the shortcomings of the original mix, but it’s still hard for me to fully enjoy that album. His production work on the biggest-selling singles by both Mott the Hoople and Lou Reed is amazing, but I’m not a big fan of his work overall on their albums.

Which artists do you wish you could hear more—or less—of in the producer’s chair?

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Jan 262011
 

A: Ask Jimmy Buffett.

Seriously, how do these musicians fall off stage? It’s not like they’re falling off some matchbox stage at a local club; they’re falling off the enormostages of enormodomes. Steven Tyler quickly to mind. He’s fallen off more than one stage. He’s had to navigate catwalks and hip checks, but most likely he was wasted.

Still, these are big stages and most of these artists who fall off stages aren’t shimmying along catwalks. I bet Mick Jagger‘s never fallen off a stage, a catwalk, or an inflatable penis. That guy’s a real pro. 

Patti Smith fell off the stage at CBGB’s, but she’s a dynamo and that old CBGB’s stage was pretty small. What’s Jimmy Buffett even doing near the edge of a stage? I can’t imagine him putting his foot up on a monitor and rocking forward like The Ramones. (I don’t recall stories of Joey ever falling off a stage, and he epitomized the gangly klutz.)

Didn’t Andy Partridge fall off a stage to end XTC’s live performance era? He was having a performance anxiety–related breakdown, so that fall was understandable. Scott Weiland‘s fallen off stages, wagons, you name it. Pink has fallen off a stage, but she was suspended in a harness while wearing a body stocking. A top-heavy Mariah Carey fell onstage, but I don’t think she landed off stage. Jimmy Buffett, according to reports, did.

HOLD THE PRESSES: Reports are now appearing that Buffett was blinded by the light!

Have you ever fallen off a stage or witnessed another musician doing so?

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Jan 262011
 

Female fronted.

The following term appears in the headline of a recent Rolling Stone article on some “up-and-coming” Welsh band.

…Female-Fronted Nineties Rock

The subtitle of the piece continues the patronizing tone:

Welsh trio’s debut disc recalls classic albums by bands like Hole, Elastica and PJ Harvey

What a pathetic, offensive reduction of a band’s work! The “female” thing is bad enough; call a woman a woman. This isn’t biology lab. Also, beside the fact that I can’t stand Hole, how do they fit in with Elastic and PJ Harvey other than era of popular breakthrough, vaginas, and a degree of shared “attitude”?

Perhaps this band is thrilled by the comparison and the RS ink, but to me this is no different than comparisons in the ’80s and ’90s, respectively, of The Busboys and Living Color to a handful of unrelated African-American rockers based almost solely on the fact that the band members are all “negroes.” With Exploitive Black Rock History Month upon us, what other offensive biases would you like to see eliminated from rock criticism?

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