and speaking of record producers... this very interesting piece from Slate.com about the current europop hit factories. Some of his facts are a bit fudged (Stock/Aitken/Waterman didn't "launch" Bananarama, they revived them) but worth reading. And anyone who hates Diane Warren deserves to be cut some slack...
http://www.slate.com/id/2123747/
yeah! what elizabeth said (about diane eve)!
oops, I didn't realize it was "she" and not "he" :wink:
that's ok. i tried to correct my mispelling of her name (should read: "elisabeth") before i submitted the post, but i ended up typing her name with a "z" after all.
Here's to Respectable Songwriting!
FWIW, I have nothing inherently against artists who don't write their own material. Indeed, y'all have heard my bleatings for Three Dog Night's inclusion in the R&R Hall of Fame, and they never composed more than a B side. But weve horribly lost the notion of *interpretive* reading of material in recent years. When's the last time you heard a dramatic *reimagining* of a song hit the charts? "It's My Life"? "The First Cut Is the Deepest"? "Listen to Your Heart"? We, collectively, as a society, have utterly failed to take advantage of the amazing wealth of material we've composed in the past 25 years. We've caught ourselves in an awful conundrum: We've convinced ourselves that the only valid performers are those who write their own material, and when it takes them more than three years to write an album's worth of material, we bemoan the time lapse and argue that they should have opened to one of the countless hands that lay before them. Can't win that bet, alouette.
May I humbly propose that further reviews of contemporary artists be a little more cognizant of their songwriters and their role, and judge by more understanding criteria (This includes accepting Neil Sedaka's straight songs as straight, appearances to the contrary, unless he presents himself as a Lothario, in which case all bets are off)?