Friday, December 03, 2004
DID YOU HEAR IT?
On my way home last night I was thinking about how I listen to music, what I listen for, and why I like what I like. Because I’m a musician, engineer and aspiring music producer, I do hear production value, and mark it for what it is when I hear it. Obviously, I appreciate a well-produced record. That being said, in the end it matters very little. Take ‘Exile On Main Street’, my professed all time favorite record, for an example. The production is gritty, recorded as it was on the Rolling Stones Mobile Unit from Keith’s basement at Nellcote in the south of France. Although the quality of the recording might be considered sub standard, it fits the content, and in the end, it’s the songs that sell the record. All the Gus Dudgeons and Bob Ezrins in the world can’t do what they do without the Elton Johns and Roger Waterses. My number two follows suit; The Clash’s ‘London Calling’, produced by renown maniac Guy Stevens, was recorded in a shitty little room with less than state of the art gear, but the results are mind blowingly fantastic, and again, the grittiness suits the content. Not every record can, or should, sound like ‘Dark Side Of The Moon’ (Number Three?).
On my way home last night I was thinking about how I listen to music, what I listen for, and why I like what I like. Because I’m a musician, engineer and aspiring music producer, I do hear production value, and mark it for what it is when I hear it. Obviously, I appreciate a well-produced record. That being said, in the end it matters very little. Take ‘Exile On Main Street’, my professed all time favorite record, for an example. The production is gritty, recorded as it was on the Rolling Stones Mobile Unit from Keith’s basement at Nellcote in the south of France. Although the quality of the recording might be considered sub standard, it fits the content, and in the end, it’s the songs that sell the record. All the Gus Dudgeons and Bob Ezrins in the world can’t do what they do without the Elton Johns and Roger Waterses. My number two follows suit; The Clash’s ‘London Calling’, produced by renown maniac Guy Stevens, was recorded in a shitty little room with less than state of the art gear, but the results are mind blowingly fantastic, and again, the grittiness suits the content. Not every record can, or should, sound like ‘Dark Side Of The Moon’ (Number Three?).
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