| Michael
Canfield & Rhythm Section Africa - Project Diary | |
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Hello, curious friends. In my quest to demystify the recording process for those who are new to it, as well as add some thinking points to the world-weary and battle hardened, here is a letter I sent recently to a prospective producer for my 'Authenticity' project. Hope it interests you. |
| Dear Producer X, Some notes on my view of the artist/producer relationship Having been a producer myself on lots of projects I have definite expectations about the role a producer will play on a project where I am the artist. While I am not quite arrogant enough to believe I know everything that a producer will do when working in this context, I do have some definite expectations that most of the points set forth (in no particular order) below will be addressed. 1. I feel that the producer must have a
clear and definite understanding of the artist's goal for making the record and
use his production skills to facilitate that vision. In this case there are specific
parameters that I as the artist feel must be adhered to. They are: 2. When I produce an artist I find that one of the most important services I can provide is my experience as a song editor. What do I mean by that? To me a producer must be willing to spend hours with the main songwriter of a project ripping apart the material and pushing the composer to surpass their own limitations. I certainly hope you will do that for me on these songs. After all, if I truly believed they were as good as they could be I wouldn't have come to you in the first place. As long as what we do serves the project vision I am open to trying almost anything. I promise not to be attached to the songs as they are and I am willing to "kill my darlings' if I must. Push me, goad me, grow me. That's what you are being paid for! 3. Studio time is booked for 19 June. I have budgeted for two months if needed. Between now and then I hope, as part of the project, that you will be able to spend time with the band in rehearsal (tentatively scheduled for the week of 5-10 June). Again, I need your outside ears to keep us going in the right direction. 4. We have discussed co-writing for the album. Over the past couple of days I've written a couple of sets of lyrics that are hooked to song ideas that might fit the concept. Hopefully we can put aside a couple of days very soon to see if they are worth fleshing out. 5. I agree that radio play is a very important component of sales success. However (that word again) for this project it is a great to have, not a must have. Rhythm Section Africa is an effective live band. I believe that as long as we make a really good record, one strong enough to open doors for live performance, the album will have legs and will recoup investment based on sales driven from strong live performances. Think Dave Matthews, Grateful Dead, Jamaroquoi, early Springsteen rather than the latest pop flavour of the month. If we can't get to radio first, my past experience tells me that it is possible to build an audience that will push radio into playing their favourite tracks. And this is another opportunity for you to work your magic on the material we have. I know that with your commercial instincts we will be able to uncover, expand or create hooks that will be radio friendly. I have faith in you. Ok, this is probably instalment 1 of what I hope will be an extended dialogue between us. Hope it makes sense and that it helps you have a better understanding of who I am and what is I'm trying to achieve. To be continued…. (As always, love to hear your comments. Please send email to canfield@icon.co.za. | |
