I don't know anything about record production, but I know from teaching and other roles that the leader needs to be collaborative but also absolutely strict and rigid about some things.
It’s a weird balance. It sounds like they needed to pull their heads out from the muck with Rundgren, to be in a place to thrive with Fox. I don’t think it works the other way around.
Well, I think your post shows there's no "one size fits all" when it comes to creative working arrangements. There are a number of factors at play: 1) timing of the proposed creative work [early career, mid-career, late career?]; 2) participant relationships and working styles [includes communication styles—obviously Rundgren didn't feel like making sure the band got heard]; 3) the reception [always a wild card given the first two] which can be difficult—or impossible—to predict. This was a fascinating piece, Mark, thanks.
Great drill-down, Mark, on the relationship between producer and artist! Todd, by then, was a startlingly successful producer, both commercially and artistically/influentially (Grand Funk, Meat Loaf, Hall & Oates, New York Dolls, Patti Smith, and dozens of others). However much of a "task-master" or "drill sergeant" he may or may not have been, he was certainly sure of what he wanted, artistically. He had earned that (and, now, finally the Rock Hall of Fame induction)!
It all has the final result, I guess, at least to the point of Partridge and band being or feeling this or that. The Ramones had stories akimbo about their 1980 studio time with unsteady producer, Phil Spector, twiddling the knobs on their "End of the Century"!
You get what you pay for, and you know what you're buying.....it works in the record biz as much as it does at the grocery store. You shouldn't expect a nursemaid of a producer if you know you're hiring someone who might just have an ego, anymore than you should expect to find a seared steak in a box of Cheerios.
I'm hoping you and your readers, Mark, might enjoy a recent "Audio Autopsy" on just one track from "Skylarking"....."Season Cycle," and its influences of sound from a songwriting standpoint, as well as what Todd did (and how he did it) to get the most out of Partridge & Co.! Thanks again! https://bradkyle.substack.com/p/audio-autopsy-1986-xtc-and-season
Great post. I love a deep dive into all the things music. Have to confess I’ve never really listened to XTC - not really sure why. But, on the back of this post and your previous comments/recommendations I’ve added them to tomorrow morning’s playlist. Thanks!
I don't know anything about record production, but I know from teaching and other roles that the leader needs to be collaborative but also absolutely strict and rigid about some things.
It’s a weird balance. It sounds like they needed to pull their heads out from the muck with Rundgren, to be in a place to thrive with Fox. I don’t think it works the other way around.
I agree. I think the first experience was a prerequisite of the second
So which do I listen to at work today, Mark? Or is there a third that’s your favourite?
Plenty of favourites... I'd try Skylarking, at a guess. If you like that then Oranges and Lemons should follow nicely.
Well, I think your post shows there's no "one size fits all" when it comes to creative working arrangements. There are a number of factors at play: 1) timing of the proposed creative work [early career, mid-career, late career?]; 2) participant relationships and working styles [includes communication styles—obviously Rundgren didn't feel like making sure the band got heard]; 3) the reception [always a wild card given the first two] which can be difficult—or impossible—to predict. This was a fascinating piece, Mark, thanks.
Based on my experience working with agents and editors on my children’s books, I think I do best with a flexible drill sergeant.
Great drill-down, Mark, on the relationship between producer and artist! Todd, by then, was a startlingly successful producer, both commercially and artistically/influentially (Grand Funk, Meat Loaf, Hall & Oates, New York Dolls, Patti Smith, and dozens of others). However much of a "task-master" or "drill sergeant" he may or may not have been, he was certainly sure of what he wanted, artistically. He had earned that (and, now, finally the Rock Hall of Fame induction)!
It all has the final result, I guess, at least to the point of Partridge and band being or feeling this or that. The Ramones had stories akimbo about their 1980 studio time with unsteady producer, Phil Spector, twiddling the knobs on their "End of the Century"!
You get what you pay for, and you know what you're buying.....it works in the record biz as much as it does at the grocery store. You shouldn't expect a nursemaid of a producer if you know you're hiring someone who might just have an ego, anymore than you should expect to find a seared steak in a box of Cheerios.
I'm hoping you and your readers, Mark, might enjoy a recent "Audio Autopsy" on just one track from "Skylarking"....."Season Cycle," and its influences of sound from a songwriting standpoint, as well as what Todd did (and how he did it) to get the most out of Partridge & Co.! Thanks again! https://bradkyle.substack.com/p/audio-autopsy-1986-xtc-and-season
Great post. I love a deep dive into all the things music. Have to confess I’ve never really listened to XTC - not really sure why. But, on the back of this post and your previous comments/recommendations I’ve added them to tomorrow morning’s playlist. Thanks!