Gord's Producer
Robad1
I'm not sure if this question has ever been posted here. Who would you
like to see produce a Gordon Lightfoot album?
My first choice would be Daniel Lanois. His production, like Gordon's songs
can create such an atmosphere. I think the combination would be fantastic.
My second choice would be to let Rick Rubin bring that simple production
that lets the songs stand on their own. He worked so well with Johnny Cash
and Neil Diamond. Can't wait to here the groups suggestions.
Robad1
Ed Mullen
First choice - John Prine.
Second choice - John Stewart.
Third choice - Me. (Yes, I have NO pride.) ;-)
And I wouldn't at all mind letting Derek Kidd or Matt Carl have a go at
producing a GL album.
The biggest challenge would be, I think, in getting Gord to stop being
so laid back and palpably nice. Yeah, I know, I know, the MAN is no
youngster, I get that. But, really now, what would be refreshing is for
him to find a way to blend '66 and '06. Span those 40 years yet hearken
back to what grabbed many of us "way back when." The life is still
there, the societal outrages, the loves lost, the loves gained, the lost
weekends, all of that: it's still right there in his mind.
I suspect that it just isn't all that relevant to him any more, he's
beyond the fight and into the twilight. To some extent I'm there.
But! I'd urge him to stop thinking like a man as old as he is and to
remember that he needs to be thinking about talking to someone 40 years
his junior. That all of his struggles, angst, pain, etc. were for
something - somthing more than just memories.
Meaning, don't talk to me, I've already got it. I've been listening to
it for 40 years, I'm not the one who needs the messages, Gord. It's the
20-year old who needs to hear it. Me? I smile and remember when I
listen. I take those songs as gospel, a guide to life. They ease me
through. But I'm not the one who needs it anymore, I've already got it.
I listened, I heard, I respected and adjusted. I got it. You don't
preach to the choir unless you're ready to retire.
This is a man who tells a story like no one else can. I'd yell at him
about this. Either make "nice" music that we can all nod at and then
forget or do what you really were made to do, Gord: tell us what
matters in a way that we can't ignore.
On the other hand, I could just be completely clueless. ;-)
--
Ed Mullen
http://edmullen.net
http://mozilla.edmullen.net
http://abington.edmullen.net
Roger G
Well said! Y'all kids need to listen to grampa!
I can see a cover design right now. Gord in a rocking chair, surrounded
by Goths or punks or whatever they are called, with a half-tone
background of, say, a Woodstock-like crowd (long haired wierdo hippy
freaks) as a ghostly choir looking on...
Ed Mullen
ROFLMAO! Too funny. Glad you got it, Roger. Love the image of the
Goth kids and Gramps on the rocking chair. Mmmm. I have a couple of
nieces/nephews who might be in that group, ones I used to sing "The Pony
Man" to. Yeah, this might work. And I'd be right next to Gord - I LOVE
rocking chairs. Just gimme a cigar and a glass of Makers Mark and I'll
be happy to sit there and tell the kids all the stuff they won't listen
to. Funny stuff. ;-)
Joe Cline
wrote:
> Who would you
>like to see produce a Gordon Lightfoot album?
>My first choice would be Daniel Lanois. His production, like Gordon's songs
>can create such an atmosphere. I think the combination would be fantastic.
>My second choice would be to let Rick Rubin bring that simple production
>that lets the songs stand on their own.
ANYBODY but Lanois -- I absolutely hate what he did on the Emmy Lou
and Willie Nelson albums (all you can hear is the snare drum.) Rubin
would be a good choice (but I still think that Lightfoot! was his best
record, followed by Back Here On Earth) so you see how far out of it I
am <g>)
Joe Cline
Charlotte (Forty years listening to The Man, this month.)
Tony Wesley
> First choice - John Prine.
> Second choice - John Stewart.
> Third choice - Me. (Yes, I have NO pride.) ;-)
>
> And I wouldn't at all mind letting Derek Kidd or Matt Carl have a go at
> producing a GL album.
>
> The biggest challenge would be, I think, in getting Gord to stop being
The third and later choices would be technically proficient. But I
think they'd suffer from being too much in awe of Gordon. He'd lay
down a track and you guys would be happy with it.
I suspect either Prine or Stewart would have no problem saying (after a
take) "Gordon, that sounded great. It really did. For a starting
point, it's just fine. Now, I want to you work on the vocals here,
bring out a little more. And the lyrics in the second verse need some
re-work..."
Cathy Cowette
"Tony Wesley" <tonyw...@gmail.com> wrote in message
news:1137351389.6...@g49g2000cwa.googlegroups.com...
Right, Tony. But if Ed were Gord's producer, after listening to the first
take, he'd say, "Errrrrrrr... Ooooooh... Aaaaaaaah!" And he'd make Gord do a
retake, so he could play rhythm guitar and maybe add a little vocal harmony.
Cathy
http://www.cathycowette.com
johnfowles
credited with being his own producer or at least co-producer I do not
think Gord has to look farther than his own band and friends.
I suspect that,despite what it says in the Harmony booklet, much of the
success of that wonderful 2004 album is due to the tireless efforts of
the genial gentleman with the pony tail.
John Fowles
johnfowles
Richard Harison
Gord has always been his own producer. Even his most influential producer of
credit-- Lenny Waronker-- tempered his product by accepting input both from
Gord and other front line people. I remember vividly when Gord was trying to
hook a minor piece for Summertime Dream, he was frustrated because it wasn't
working, and started to play the vamp from the Wreck. Lenny asked me what the
song was about, and I told him. Lenny, whom I have always known to be a man of
insight, got on the studio intercom and asked Gord to play the song from the
top, and said "just for fun" let's roll tape. After the song, Lenny turned to
me and said," Can they do it any better than that?" As a veteran of numerous
rehearsals in days just previous, I replied "No." That first take is what we
have enjoyed all these years.
In 1971 in Nashville, Gord sought my advice on "Too Much to Lose." He was
unhappy with the takes. Too bad because Red Shea was playing a part to kill for.
(and for wannabe lead guitarists-- he played it in F shape! -- The same shape he
had used on "Affair on 8th Avenue"). My suggestion (which Gord took) was to
ditch the Nashville musicians and do the song as a trio. He tried it the next
day, but remained unsatisfied. It took me years-- until I got one of the
Nashville takes and realized it was the TEMPO that was the problem. (Too fast
even now--let alone the "laid back" coolness of that time.)
The redo of the ODR era somewhat addressed the tempo problem, but the fantastic
soooo GL arrangement, as far as I am concerned, never made it to the surface.)
A very important role of a producer is to create a "sound." (Phil Spector &
others). There is some value here---"hey let's add an oboe."
For the most part, it just doesn't cut it with Gord...He really has always been
his own man-- his own producer!! Just as it should be!!
All the Best
Richard Harison
"johnfowles" <fowle...@hotmail.com> wrote in message
news:1137367014....@g49g2000cwa.googlegroups.com...
buz...@ebtech.net
Richard:
Your insights are always interesting to read. Thanks for sharing them.
Pardon my ignorance, but what is the "vamp" from the Wreck?
Brian Murphy
Ed Mullen
ran...@telus.net
sentiments from the voices of those with well seasoned ears when it
comes to laying it on the line who should be the Man's producer. It's a
very personal thing and there are some very credible people in the
business who could conceivably get overlooked. My leanings though are
similar to those of Richard and John. Although Lenny's name shows up
there quite frequently, Gord's does also. After all, isn't he the one
who must have the final say? I'm surprised that Red Shea's name doesn't
come up somewhere in the picture. He is quoted in the insert of "The
United Artists Years" three CD release as one who is an integral part
of the Gordon Lightfoot sound. I'm also quite fond of the influence of
John Court. On another note there are many new and younger artists
who's writings have been influenced greatly by the music of Gordon
Lightfoot and their choice of producers has yeilded some very fine
listening material indeed. Chad Irschick is one who I greatly admire.
Gotta go before I get in trouble. Ron Jones.
Richard Harison
chord changes in the song. It can be repeated as often as desired before the
singing actually begins.. Thus the well used phrase, "vamp until ready!"
--
All the Best
Richard Harison
<buz...@ebtech.net> wrote in message
news:1137382028.3...@g47g2000cwa.googlegroups.com...
mcarl-at-cablespeed.com
from his involvement and control in all the aspects of his career.
Publishing, writing, et. al. And it's apparent that he values his
stagemates opinions and expertise too. I guess I think that's why they
get to play with him.
I can't think of a single mix that's bad per se, but I really have
enjoyed the work from Grant Ave lately. Of course, technology, methods
(and my ears) have changed over the years too.
I would love just to be a fly on the wall during a mixing session and
learn from some pros. All I ever do is follow the advice in the title
of George Martin's book: "All You Need Is Ears".
Matt
Stteve Dunbar
see you all again.
See some familiar names from corfid - Cathy, Someday, John, et al - Howdy.
Anyhoo... Ed & Robad1: Just athought on the string of thoughts on GL's
age vs.
what his audience might likely wisah to here more of.
<snip>
>>>ED Mullen and Robad1 wrote:
>>>
>>>> Hi All,
>>>> I'm not sure if this question has ever been posted here. Who would
<snip>
>>> The biggest challenge would be, I think, in getting Gord to stop being
>>> so laid back and palpably nice. Yeah, I know, I know, the MAN is no
>>> youngster, I get that. But, really now, what would be refreshing is for
>>> him to find a way to blend '66 and '06. Span those 40 years yet hearken
>>> back to what grabbed many of us "way back when." The life is still
>>> there, the societal outrages, the loves lost, the loves gained, the lost
>>> weekends, all of that: it's still right there in his mind.
<snip>
Ed and Robad1, interesting thoughts. I hear ya'. In a perfect world,
I would have Gord genetically frozen in the 70's , and the string of albums
starting (for me) from IYCRMM, to Edmund Fitz chronologically,
would continue in same style and mesmerizing lyrics and demeanour,
orchestration,
haunting thoughts, all the stuff he wrote according to pundits in his
"broadbrimmed" period ostensibly they say peaking with the Sundown album
according to them (the pundits).
While more and more albums like this with the same
vocal range he had in , oh I dunno, Don Quixote "Beautiful" and other
quintessential captivating songs would probably cause my wife and I to
explode in happiness, here's the problem I see. We'd never know about
having that "Restless Feeling" , or picture that hotel room maid with
a tear in her eye in "I Used To Be a Country Singer", or revisit old
feelings with "Harmony" etc.
I guess we can't freeze frame the world
eh ? And, how can we ask/tell/wish a Painter to mass-produce originals and
not experience the unique nature of each album and the personality we
assign each one individually , like a painter's "depressed" period.
Somehow, the thought of Gord in a rocking chair preaching to the choir
is a sad and maybe even unnappreciative thought to convey to the
Gord "cognescenti", but who is really that? I figure all thoughts like
these
are passing and have merit in that we *have a right to have them*.
And, is it viable for the choir to admonish the kind, aging "priest"
who has f\illed their lives with joy and introspection ? hmm
I'll never tire of Gord's entire body of work, but I certainly do
have my list of " if you could take 6 CD's to a desertted island". :)
- Steve / Geodeticman
Ed Mullen
Nicely said. Reminiscing wistfully about days gone by doesn't
necessarily mean I want to return or that I don't like the current state
of affairs. And when it comes to Lightfoot I'm daily delighted by the
fact that he's seemingly indestructible and still getting out on stage
for us all. Us old folkies are hard to kill off. ;-)
I just got back from Toronto this evening and in the piles of mail
waiting for me I found my Massey tickets for November. What a nice feeling!